The phenomenon of Tamil cinema is not restricted to the region. Not only does it enthrall the audiences of neighbouring states and influence their filmmaking, it has crossed national borders and found a following among the Tamil diaspora, and foreign fans.
Tamil cinema celebrates the cult of the hero, where larger-than-life characters are essayed by even larger-than-life actors and where a 60-year-old balding man continues to play a young action hero who romances the youngest of heroines and takes on platoons of villains with nary a missed breath. It is where action sequences defy the laws of physics, scores of dancers gyrate to songs filmed on elaborate sets or in exotic locales, emotions and drama run high and loud, and every cliché is not just ample, but amplified.
That the producers and audience love these formulaic films — Endhiran, Dasavatharam and Sivaji are the top three money-makers ever in the industry — is evident in their growing success over the decades and, most recently, in the past 10 years. But the past decade also has a new trend that made a quiet entry, but is proving to be a head-turner.
This new genre of films, which began with Autograph in 2004, is not what can be classified as ‘art house’ productions. They have every masala ingredient of a formulaic film, but what they also have is a solid storyline, a large dose of realism and actors who are almost unknown. The language of these stories seems real, the cultural and social subtexts are more nuanced, they take the audience closer to the character, to the rawness of romance and violence, and to the richness of rituals and the landscape. The resultant mix has not only struck a chord with directors and actors, but worked wonders at the box office and, hence, with producers as well.
Thus began a trickle — that has now grown into a steady flow — of such movies: Paruthiveeran in 2007 and Subramaniapuram in 2008 gave way to the likes of Angaadi Theru (Market Street), Pasanga (Kids), Anjathey (Fear Not) Kalavaani (Thief) and Madrasapattinam (Madras Town). These movies received critical acclaim and also saw commercial success.
Last year, for instance, in the shadow of Endhiran, stood a fairly new face, quite unknown and with a sense of irony. The protagonist went through all the dramatic transformations expected of a Tamil hero: A pauper, he becomes a billionaire in minutes; an orphan, he is united with his long-lost parents as they all sing a ‘family song’; he kills villains in unconventional ways (one of them laughs to death by looking at his antics) and he turns out to be an undercover policeman.
Tamizh Padam (literally, Tamil Film) took every possible cliché and illogic of Tamil cinema, spun them on their heads, laughed at them and ended third on the list of money-makers for 2010.
“I knew it would be a success, but I never even imagined it would turn out to be such a big hit,” says Tamizh Padam director C.S. Amudhan. The movie, which to a large extent, depended on the willingness of the audience to laugh at themselves and at the movies they once spent money on and raved about, would not have been as well received six or seven years ago. “You need a kind of self-confidence to laugh at yourself, and that comes from the fact that the opposite is also true; from the knowledge that if there are cliché-ridden movies, there are also movies that aren’t so,” he says.
In the Director’s Seat
Autograph, the film that began this trend, was a nostalgic meditation on the past romance of a soft, diffident-looking young man in the days leading up to his marriage. Cheran, initially only the director of the film, ended up acting in the lead role after it was turned down by established actors. The film went on to become a huge hit.
Bala, a director with considerable commercial success, delved deeper into the darker aspects of men and society in Naan Kadavul (I am God), his fourth movie. The film captures the lives of beggars in a stark manner, super-imposing it on the world of spiritual aspirants. The movie was based on a novel Eazhaam Ulagam (7th World) by Jeyamohan, one of the foremost writers in Tamil. Jeyamohan, who also wrote the film’s dialogues, lent his literary muscle to another movie Angaadi Theru.
Vasanthabalan, director of Angaadi Theru, used hidden cameras at least 80 times to faithfully capture the sights and sounds of the bustling market place in Chennai’s Ranganathan Street. The film sheds light on workers, mostly from the rural areas, in the urban retail business. Emotions run high and even when apparently nothing is happening, it seethes with underlying tension.
Not Just a Passing Trend
(This story appears in the 15 July, 2011 issue of Forbes India. To visit our Archives, click here.)
inquiry. 'sengunthana vykunthana' who sung it and in what picture? kr vijaya is Sarswathy in it and the hero is in asong prays her to uplift the weavers community. please help me. my mail is msivalingamuthaly@yahoo.com. thanks
on Dec 14, 2011tamil film industry is moving in the right path for sure :) tamil movies online
on Nov 26, 2011Sasikumar's direction is extraordinary// screenplay nature and scene by scene shooting order 80th time is very different/ really good project.
on Jul 7, 2011As Tamilian living in France, the big problem is to get the rights of the tamil movie. The film distributors ask too much money that it is not possible to promote tamil movies. Secondly we need Tamil movies subtitled in french. But it is imposible th find them! Hindi films come already subtitled in french here in Paris!! Then even Tamilians prefer Bollywood!
on Jul 7, 2011Naan Kadavul movie is based on the novel "Eazhaam Ulagam" i.e. 7th world. Its not based on Yezhavadhu Ulagam (70 Worlds). Can you please make necessary corrections??
on Jul 6, 2011Dear Jagadees, thank you very much for pointing out the error. It's indeed Ezhaam Ulagam. It's a shame because I follow Jeyamohan's blog (http://www.jeyamohan.in/) with great interest. I suppose i didn't check as well as I should have because Yezhavathu also means 7th (Yezhuvathu is 70). Thank you once again for pointing out the error, and for the interest in the story. We've made the correction.
on Jul 9, 2011Thanks for acknowledging and correcting it. Nevertheless its a nicely written article capturing the essence of change happening in kollywood.
on Jul 9, 2011