Anniyan

What can you say about a filmmaker who has the sheer audacity to make a 28 crore movie to tell you, his audience, that every little rule you have broken, every little “harmless” transgression of yours and even the slightest non-conformance which you think is insignificant has all together contributed to the pathetic, backward state your country is in today? What can you say about him, when even after telling you all that, he makes you leave the theatre fully, wholesomely entertained? Do you call him something on the lines of a big thinking, utopian, idealistic, romantic? Of course not. You call him exactly and precisely that.

The premise:
Shankar always seeks to embed a strong social message in his grandiose creations. Having explored his pet theme of corruption, to the fullest, he arachufies the arachufied maavu with some embellishments in a sparkling new grinder. The point he is trying to make is that we have become so accustomed to breaking the smallest of rules that it has become a cancerous malaise that our society is ridden with and this is the strongest impediment to our progress, leaving us far behind our peers like Singapore and Japan on the road to development. He may have made a well known, obvious yet valid point there. But this malaise has become so hopelessly deep rooted that it has become second nature to us to break rules, and ideas of transformation can be termed utopian at best. However, what does make Anniyan interesting other than that phenomenal scale of thinking, is the weaving of this social message in a fabric of intriguing mythology-the Garudapuranam the Hindu equivalent of the Judgment day which is uncannily like Dante’s The Divine Comedy.

The rape:
Shankar’s greatest forte is his perfect understanding of the power visual imagery can wield on the audience. The extravagance and opulence screams out in every frame of his songs. The breathtaking tulip gardens in Amsterdam for Kumari; the sets for the Andankakka number boasting of intricately painted houses, lorries, ambassador cars, rocks, roads and boulders; the attention grabbing, music video style Kannum Kannum Nokia shot in the all glass-and-steel Kuala Lumpur airport. These are visuals that don’t merely seduce you. They rape you out of your senses and leave you totally, absolutely awe inspired.

The actor:
When you walk out of Anniyan, you get this overpowering feeling of having seen a single actor movie. The role is tailor-made for Vikram, the cinematic rules of multiple personality disorder allowing him maximum scope to display his phenomenal acting prowess. The scene where he rolls on the floor his alters struggling with each other and the awesome interrogation scene where the alters appear in repetitive succession show that Vikram is in an altogether different league of actors.

The Action:
Call it inspired, plagiarized, borrowed.Yet the long drawn matrix style martial arts fight is almost flawlessly executed. There is a choreographed orderliness which is immensely appealing, the graphics are almost seamlessly inserted and we have the ultimate ingenuity in a desi style five headed snake routine in which the fighters move in formation against Vikram.

The pain-in-the-posterior:
The demands and the compulsions of the story dictate that one of the alters has to be timid and submissive- adjectives that seem to have a irritatingly clichéd association with the image of a Tamil Brahmin, someone, who would be called a typical pazham. In a movie that seeks to be so far ahead of the times, such an antiquated characterization stands out like a sore thumb. At times, Vikram’s acting looks like he is caught in between the genders and instead of looking like the chicken heart he is supposedly portraying he looks like , forgive my expression, an absolute pussy.

The power of words:
Dialogues that would seem utterly artificial, gratingly corny and totally preachy in any other movie adopt a completely realistic form in this movie. Sujatha is on the ball and check out these gems:

“Neenga sattatha kaila edukkardhu nyayama”
“Neenga sattatha odaikkalaam, Naan adha kaila edukka koodaadha”

“Ivalo china thappukku kolaiya?”
“Idhukku ellaam yaaru kolai panna porannu dhaane alakshiyama thappu panreenga”

Miscellenia:
Harris does a spectacular job in the background score especially in the eerie chants that resound whenever Anniyan appears. But in the end, when there are images of a transformed society, you can hear a snatch of Rahman's Vande Matram playing in the background, a subtle yet noticeable acknowledgement of his absence. And of course, Vivek is at his rollicking best in a rather timely return to form.


The verdict:
There is irony in the fact that Shankar who made the ‘Break the Rules’ Boys follows it up with 'Don’t break the rules' Anniyan. Probably a reflection of lessons learnt in life. Anniyan is the quintessential big budget entertainer, though the adrenaline rush which you get by relating to the protagonist, which is characteristic of a Shankar film is conspicously missing-like you don’t egg him on to beat the crap out of the baddies and you don’t exactly jump out of your seat rooting for him. That’s likely due to the fact that it is not the hero but one of his multiple personalities doing the good on screen. And scarily it is even more likely due to the fact that you have been steeped and soaked in a society of habitual rule breakers, that the significance of a few rules side stepped doesn't hit you that hard!

Dreams of the past, and of the present...

Adhu Oru Kanaa Kaalam

The music Ilayaraja has made for Balu Mahendra is all about moods. The melancholy Kanne Kalaimane(Moondram Pirai) that lulls you to sleep, the sultry Ponmeni(MP), one of the sureshot nominees for the mother of all item numbers, the psychedelic Vaan Engum(MP) , the dark,almost psychotic En Iniya Pon Nilave(Moodu Pani), the hinting at the tragic Veedu theme. The moods have as much to do with some mesmerising music as with the breathtaking visuals and with the movies themselves. So to listen to Adhu Oru Kanaa Kaalam without seeing the songs is like eating half a meal. And this half a meal truly leaves you with an aching hunger, a hunger for the Ilayaraja of yore.

Andha Naal Nyabagam is a mere shade of the classic Ilayaraja melody, yet it is an excellent number sung beautifully by Shreya Ghosal-the clear, sweet quality her voice has lending an entire new dimension to the song. Vijay Yesudas does an equally competent job and without being harsh and comparing him with his father, one must say he definitely has talent.

Kaatu Vazhi is going to have Ilayaraja, the singer's fans rooting. But he scrapes rock bottom with the pitch, trying to sing as low as low can be, which tends to be almost recitative at times. But this song will definitely grow on you particulary because of the interesting fusion of musical styles and the novel orchestration.

If you want to take a virtual trip down time to the glorious hey days of Ilayaraja in the 70’s and the 80’s, then Kili Thattu is the song you should be listening to. The kids’ chorus, the magical interludes, and Bhavatharini and Jyothi singing in tandem, and yet singing as one, if ever that was possible, transport you to a entirely different plane . Bhavatharini has transformed so spectacularly from her Mastana Mastana days, and she even manages to go one up on her award winning Mayil Pola.

Enkitta Modhaadhe(Rajadhi Raja), Raja(Agni Nakshatram), Podhuvaaga En Manasu Thangam(Murattu Kalai) are pretty demanding predeccesors for a hero centric song and Ennada Ninaicha doesn’t even come close. The tavil and guitar make an interesting combination and yet the fizz does seem missing. Balu Mahendra’s penchant for realism can be seen in the lyrics that go Kuchiya polave naan irundhaaal... what a perfect fit for Dhanush!

On the whole, the songs are average and one can only hope that the movie changes this impression and recreates the Balu-Raja magic or we might have to sigh and say Adhu Oru Kanaa Kalam

Oru Naal Oru Kanavu

In sheer contrast, is Fazil’s Oru Naal Oru Kanavu- an instantly likeable, immensely appealing album. I, personally have never favoured Ilayaraja’s scores for Fazil, post Kaadhalukku Mariyadhai because I have always felt it was that movie that marked the inevitable change in style for Raja, when he adapted to the demands of time. I agree Ennai Thalatta varuvalo is a brilliant song (which by the way is largely due to Hariharan) but I always think the synth beats sort of mar the song’s charm. Almost all of Raja’s songs for Fazil after that are indicative of a transitive phase where he is caught between the genius of his orchestration and synthesized music, attempting a challenging marriage between these two. In fact there is one out of place song Iravu Pagalai Theda in all his numbers for Kadhalukku Mariyadhai and Kannukul Nilavu which reeks of vintage Ilayaraja. But with Oru Naal Oru Kanavu, Ilayaraja comes full circle and it’s a sort of a reaffirmation as to why he is the Isaignani.

Katril Varum Geethame takes off from where Yamunai Aaatrile left off and is one of the most splendid showcases of the richness of Carnatic music. Drawing heavily on the classical influences, with the confluence of a host amazing voices this song is definitely a winner. You got to hear the places where the ladies come together in spell binding harmony.

Khajuraho is a definitive break from style, a number that is so un-Ilayaraja like that you might think it was a Vidyasagar or a YSR or why even an ARR who composed it. It only makes you wonder what this man is not capable of composing. Hariharan rocks in this sexy duet which I don't know for some reason, reminds me of Vennilave specifically the Idhu Irullala Idhu Olialla Idhu Rendodum Seradha Pon Neram bit. Guitar interludes, a throbbing synth beat, echo effect in the vocals , one can go on and on..

Enna Paatu Vendum Unakku- a jazzy disco song and Sonu Nigam sings in surprisingly good tamil, so much so that it is difficult to guess that he is singing. And Ponnuku Maapillai, though it has pedestrian lyrics is a must listen for the unexpected transition after the first stanza, where Manjsri sings in solo. You are almost led to believe the song has ended and the next has begun- a technique that Ilayaraja put to use so succesfully in Rakkamma.

Oru Naal Oru Kanavu, makes you think that when speaking about Ilayaraja's days of glory, it is probably too early to say Adhu Oru Kanaa Kalam!

Update: A rather hasty take on Andha Naal Nyabagam....This song doesn't just grow on you...it gets under your skin and fills you up....the slap/tap/pluck style of guitar strumming, the Ho Ho Ho chorus, and the part where Vijay Yesudas goes 'Alai Alaiya....' force me to change my mind....this song will hold its own against any classic Raja melody!

Now playing...in repeat mode.

Anniyan

Kumari….
Entreating? Beseeching? Pleading his love? Try as I might, I just can’t seem to find the right adjective to describe the way Shankar Mahadevan sings this refreshingly new number and Konji is the most fitting Tamil equivalent I can think of. The honey dripping sweetness in the way he stretches and drags the words is cloying, the nasal twang is overused and the brahminical accent where the ‘s’es become ‘sh’es is exaggerated and yet they all only end up adding to the song’s attractiveness. The stringed instrument which, I figure is the mandolin, does wonders in the interlude and all of the above make Kumari the song of Anniyan.

Andankakka konda kaari….
Harris! Harris! This is probably why you can never be a Rahman! *Shake of the head, clicking noises to show disappointment*
Its great that he is making use of fresh talent like the Lejjavathiye sensation Jassie Gift, but then he should also learn to give them a free rein and let their natural creativeness flow. What has he done to Jassie! The exotic voice goes all awry and you get loud, jarring screamy vocals. Yet all is not lost as a good tune and Shreya Ghoshal come to the party to make this a nice and happening song.

Arindhum Ariyaamalum

Konjam Konjam....
Probably one of the classiest, peppiest numbers I have heard in recent times, this song is in the classic Yuvan Shankar Raja mould. Starting off with a husky, sensuous female voice (Maheeva Kammat), bolstered by a pulsing with energy male chorus, and supported throughout by an underlying bass harmony, this song straightaway sets you in the feet tapping, rhythmic head bobbing mode.

Yen Kannodu...
Most people hail Yuvan Shankar Raja as the next king of Tamil film music, to follow in the footsteps of his illustrious father and A.R.Rahman. And this song is enough evidence of Yuvan’s fabulous talent. Singing in an uncannily Rahmanesque style, blending Arabic influences with trance and haunting vocals, Yuvan gives you a real treat to hear. Purists may complain he is a little off key but I am floored especially at the point where he goes ‘Thaangamudiyaadha Anandam, Thoongamudiyaadha Perinbam”

Sadurangam
This is a gem of an album from Vidyasagar which has gone fairly unnoticed mainly because the movie itself has not been publicized due to release problems. It would be a pity if such great work doesn't get the credit it truly deserves. Vidyasagar seems to be getting better with every movie, if you are willing to ignore Kanaa kanden, which I don’t think is even close to what he is capable of.

Enge Enge....
Enge Enge is a wonderful melody sung exquisitely by Karthik. Check out the sexy bass guitar that runs through the song, the violins, the flute and the saxophone in the interludes and the overall arrangement-a class act.

Ennai Thandhiduven...
The tabla and the vocals of Karthik and Srileka are the lifeline of this duet. The beginning seems oddly reminiscent of a combination of Snehidane and Evano Oruvan from Alaipayuthe and the song transitions into a fast paced, lively number. The Thana Dhom Thanana singing in the interlude is simply fantastic.

Vizhiyum Vizhiyum....
This song, Ladies and Gentlemen, is currently the reigning jukebox queen on my discman. The prelude is in Bengali and I have to accept there is something almost musical about this language that makes it an obsession for Tamil film music directors. An extremely melodious duet, it is almost conversational with Madhu Balakrishnan(who has an almost Jesudas like voice) and Harini, competing with, and complementing each other. The interludes are entirely dominated by the flute and the way the first interlude ends with the bird chirpy tweet is an absolute pleasure to hear. An almost perfect song, which forces you to listen to it again and again and again….