Bala's epic - Paradesi (பரதேசி) - Adharvaa Dhansika Vedhika - GV Prakash

[arulraj]

Paradesi will get some awards .....:thumbsup:

Commercially it will be a big flop ......:think:

[VinodKumar's]

Surprisingly, GVP's songs and bgm were good. I believe he was subjected to the reality teaser treatment.

:lol:

[Cinemarasigan]

At the end of the year, Paradesi will be among the best films of the year. Not that it's without flaws but they are negligible. Bala sticks to his strengths and is very well within his comfort zone.


This is where i am worried about, padam paakkum bOdhu oru maadhriyaana uneasiness irukkaradhu dhaan balaa padangaLai paakka vidaamal thadukkudhu... looks like most of the viewers like this movie...

[stULana]

A neat review of Bala's Paradesi, what seems to be a great/classic movie: http://filmigirl.blogspot.com/2013/03/paradesi-world-is-flat.html

Kudos to Bala for still not (mis)using women in his movies for commercial/collection reasons the way most do (including Kamal (lips) and MR (items))..not even a low-hip. Adhukkaagave :bow:
He is the only popular Movie Director in India, and the entire world, to have exercised this level of control on his woman characters..even after 10+ years, even after 6 movies. He choose not to. :clap: :bow:

[HonestRaj]

(mis)using women in his movies for commercial/collection reasons the way most do

this one point i like it most from his films..
Simran'aiye iduppu kaattama aada vechavaru..

[Chikatiloan]

A neat review of Bala's Paradesi, what seems to be a great/classic movie: http://filmigirl.blogspot.com/2013/03/paradesi-world-is-flat.html

Kudos to Bala for still not (mis)using women in his movies for commercial/collection reasons the way most do (including Kamal (lips) and MR (items))..not even a low-hip. Adhukkaagave :bow:
He is the only popular Movie Director in India, and the entire world, to have exercised this level of control on his woman characters..even after 10+ years, even after 6 movies. He choose not to. :clap: :bow:

Kamalhaasan,manairatnam kooda compare panrathulaan thevaiyaa..they r already a legend when bala debuted in cine industry..Infact kamal is multidimensional who acted in pushpak(Pesum padam) - a silent black comedy which no one dare enough to do,heavy subjects like guna,mahanadi and various roles..so please stop comparing kamal,MR with bala which is really unwanted and stupid..i like bala movies even though he is single dimensional taking only dark themes,heavy subjects..i don't know why people cant appreciate movies without comparing with others..really really ur statements are igniting,provoking,,plz restrain..

[stULana]

USV, easy.
When I compared with Kamal and MR, it was for the commercial aspects..when they did! Incidentally, they are my top 3 directors..in case it makes you feel any better ;) I can go even beyond them (to connect with previous generation). K. Vishwanath made only (almost!) classical based movies. Likewise, Bala prefers some subjects (realistic!) that other directors don't touch or can do justice to. Both are class directors. Anyday, I would prefer a K. Vishwanath and Bala (compared to Kamal and MR with compromises!).
The stress was only on the last statement in my previous post (the bold parts), as I don't think anyone mentioned it earlier.

Of course, this preference of mine may change the day Bala starts making compromises..

[ajaybaskar]

Commercially it will be a big flop ......:think:

It wont be,if i go by the response in the theatre. Moreover, even his worst film till date Avan Ivan managed to break even.

[Cinefan]

Wrt Kamal,

As a director he has made Chachi 420,Hey Ram,Virumaandi and VR(different genres,the last three completely original subjects unlike the first which was a remake which itself had it's story knot taken from a Hollywood movie)

Officially he has written and unofficially he is supposed to have ghost directed Guna,Mahanadhi and Anbe Shivam

He has written/actively been involved in the writing of Raaja Paarvai,Apoorva Sahodarargal,Pushpak(Pesum Padam),MMKR,Thevar Magan,Kuruthippunal,Aalavandhaan,Dasavathaaram(am not including other films like Unarchigal which he wrote and R C Shakthi directed way back in the 70's and scores of other films where he has made inputs in different ways)

With just this repertoire,he stands way ahead of Bala.

Please desist from comparing both,there is no comparison.Kamal is an actor-par-excellence,writer,director,producer and singer.

Stick to Bala and his movies here.If at all comparisons have to be made,make it with other directors and not somebody like Kamal hassan.

[stULana]

Cinefan,
You miss the point. We are not comparing their CVs. The part of relevance is this:
"He is the only popular Movie Director in India, and the entire world, to have exercised this level of control on his woman characters..even after 10+ years, even after 6 movies. He choose not to. :clap::bow:"

Please don't get worked up by misunderstanding the above. What I meant was Bala's uncompromising woman characterizations (say, Rani in Hey Ram..to Pooja in bed in VR2 trailer, MR's item girls..to 15yr old mutham in Kadal) for commercial reasons. In that aspect, I would rate Bala equal with K. Vishwanath's neat portrayal of their lead women characters (above MR and KH). They show more "Indian" woman characters..by this, I mean less compromising. This IMHO.

(I will only be too glad if others can portray woman neatly on screen as well, overcoming the pressures of commercial gains.)

[ajaybaskar]

Good point made there and very true too.

[stULana]

ajaybhaskar,
Thank you for understanding :)

[hattori_hanzo]

Very good point. Othukaradhula thappe illa :-) But I don't think Kamal does it only for commercial reasons. In fact some of Kamal's romantic scenes, like the one in Hey Ram had a negative effect on the movie's commerce.

[stULana]

HH,

DIG:
Exactly, I thought the same. Siladhu, avar preference..adhu inga vendaamae :roll: In fact, I was very glad VR was neat and had repeat audience. I would not have posted 70-80 posts supporting VR before it released had I seen a HR poster ;)

Imagine Bala, KH and MR exercising that kind of control and letting their movies speak every year..;-) like VR and Paradesi every year.
We can probably stop watching outsider's movies ;)
END DIG

[Anban]

isaifan,

it would be stupid on your part if you say kissing scenes in Kamal movies is for commercial purposes.. actually its for reality .. it is actually commercially negative for Kamal .. please correct your understanding.. tell me one Kamal movie that got in more people for its kissing scene.. :banghead:

[SoftSword]

(1) It starts as a normal commercial movie. You can find cliche characterizations... Hero is an innocent guy... Heroine is a playful girl and do all galatta's with hero... Hero's mother always chides the hero but having great affection on him. Standard and Industry accepted dialogues like britishers speaking high about gandhi
(2) The movie also has Bala's cliches like the actors going for a complete makeover... Intense scenes and a diabolical villan... Fair share of bad words...The lead actors have their own story but the backdrop on which their story happens leaves a deep impact than the former story

Inspite of all these, what makes the movie unique is the theme what Bala touched. I don't know how many have the guts to make a movie like this. No movie has depicted the British exploitation, slavery and most importantly the christian conversion like this one.The screenplay is coherant and is well paced and there is no boring moments at all. Bala easily suceeds in making the audience to have an emotional bondage with the characters. Both the cinematographer and the musician has helped bala to create an authentic and realistic feel. surely I would rate this as one of the most gut wrenching movie I have ever seen... Kudos and big salute to Bala

what about the classic madharasapattinam?

[mexicomeat]

what other offbeat track is left for bala to cover?

mandiravadi performing black magic?

[Cinefan]

is,
Do you mean to say that any film maker who has lip lock scenes,making love scenes has designed it for commercial purposes only?

AFAIK, Kamal supposedly has a lower family audience for exactly this reason.

But agree that Chauvinistic attitude displayed on screen and treating women as inferior is something all actors have been guilty of.

But do not agree that treating women characters with respect is an important criterion for evaluating a film maker.Ultimately the effect his/her films have on the audience,the genres handled,the craft displayed and the kind of work he/she gets from the crew is more important.

[sakaLAKALAKAlaa Vallavar]

பாலா ஒரு நல்ல கலைஞன். கமல் பேரை சொல்லித்தான் அவர் திரியை ஓட்டவேணும் என அவர் ரசிகர்கள் நினைத்தால், தாராளமாக கமல் தலை உருளட்டும். ஒரு சக கலைஞனுக்கு கமலால் ஆன உதவி

[Anban]

ஏன் எனக்கு பரதேசி படம் பிடிக்கவில்லை ?

எந்தப் படத்தையும் முழுமையாக ஏற்கவும் முடியாது. நிராகரிக்கவும் முடியாது என்ற வாதங்கள் வைக்கப்படுகின்றன. இது ஏற்றுக் கொள்ளவேண்டிய உண்மை போல தோன்றும். ஆனால் இதே வாதம் படு மோசமான மசாலா படங்களுக்கும் பொருந்தும். அவற்றில் கூட ஓரிரு ஏற்கத்தக்க அம்சங்கள் எப்போதும் இருக்கத்தான் செய்கின்றன. ஒரு படம் வெகுஜன பார்வையாளர்கள் முன்பு வைக்கப்படும்போது அவர்கள் அந்தப் படத்தை எப்படி புரிந்துகொள்ளும் வாய்ப்பை அந்தப் படம் தருகிறது என்பதே எனக்குப் பிரதானமானது. வெகுஜனங்களுக்கான படத்தில், சிறப்பான அம்சங்கள் அறிவுஜீவி ஆய்வாளர்களுக்கும் திரைவிமர்சன மேதைகளுக்கும் மட்டுமே புரிகிற மாதிரியும், சாதாரணப் பார்வையாளருக்கு அவை எட்டாத விதத்திலும் இருந்தால் எனக்கு அது உடன்பாடில்லை. ஒரு படத்தின் இறுதியில் ஒற்றை செய்தியாக ஒரு சிறந்த கருத்து சாதாரணப் பார்வையாளர்களுக்குப் போய் சேர்ந்துவிடுகிறது என்பதற்காக அந்தப் படத்தில் மறைக்கப்படும், மழுப்பப்படும் திரிக்கப்படும் திணிக்கப்படும், கருத்துகள் பற்றிக் கவலைப்படாமல் இருக்கமுடியாது. பார்வையாளர்கள் அந்தக் கருத்துகளையும் படச் செய்தியுடன் சேர்ந்தே ஏற்றுக் கொள்ளச் செய்யப்படுகிறார்கள். அப்படிப்பட்ட குறைகள் சிறியனவாக உள்ளனவா, அதிகமாக் உள்ளனவா என்பதை கவனித்தே ஆகவேண்டியிருக்கிறது. இதன் காஸ்ட் பெனஃபிட் ரேஷியோ முக்கியமானது.

பரதேசி படத்தைப் பற்றி விரிவாக எழுத எனக்கு விருப்பமில்லை. என் சக்தியையும் நேரத்தையும் அதில் வீணடிக்க எனக்கு விருப்பமில்லை. எனவே என் கருத்துகளை சுருக்கமாக மட்டுமே சொல்லப் போகிறேன். இந்த ஒவ்வொரு கருத்தையும் விரிவுபடுத்திப் பேச என்னிடம் விஷயம் உண்டென்றபோதும்.

எரியும் பனிக்காடு என்ற டாக்டர் டேனியலின் டாக்கு-நாவலையும் நாஞ்சில் நாடனின் இடலாக்குடி ராசா என்ற சிறுகதையையும் பாலா இணைத்து தன் திரைக்கதையை உருவாக்கிக் கொண்டிருக்கிறார்.இரண்டு கதைகளும் கருப்பொருளில் தொடர்புடையவையே அல்ல. எனில், இதற்கான அவசியம் என்ன ? எரியும் பனிக்காடு அதனளவில் முழுமையாகப் படமாக்கப்பட்டாலே மூன்று மணி நேரப் படமாக எடுக்கும் சாத்தியங்களும் பாத்திரங்களும் உள்ள நாவல். ஆனால் அதில் பாலா தன் படங்களில் வழக்கமாக வைத்திருக்ககூடிய பார்முலாவுக்கான பாத்திரம் எதுவுமில்லை. சேது, பிதாமகன் விக்ரம் பாத்திரங்கள் போலவோ அகோரி போலவோ ஒரு பாத்திரத்தை கதாநாயகனாக வைக்கும் பார்முலா பாலாவுடையது. இடலாக்குடி ராசா அதற்கு தோதான பாத்திரம். இதே போல பரதேசி படத்தில் வரும் பிரதான பெண் பாத்திரங்கள் எல்லாம் பாலாவின் முந்தைய படங்களில் லைலா, சங்கீதா போன்றோர் செய்த பாத்திரங்களின் மறுவார்ப்புதான். இவர்களின் உடல்மொழி எல்லாம் தொடர்ந்து பாலாவின் முந்தைய படங்களில் இருக்கும் அதே செயற்கையான உடல்மொழிதான். இதற்கெல்லாம் சம்பந்தமே இல்லாத ஒரு படைப்பு எரியும் பனிக்காடு. அதில் தன் சைக்கிக் பர்வர்ட்டட் பார்முலாவை பாலா புகுத்திச் சிதைத்திருப்பதுதான் என்னைப் போன்றோரைக் கண்டிக்க வைக்கிறது. லைஃப் ஆஃப் பை நாவலை பாலாவிடம் படமாக்கக் கொடுத்தால் என்ன ஆகும் என்று கற்பனை செய்தால் இந்த சிக்கல் புரியும்.

எரியும் பனிக்காடு நாவலை எழுதிய டாக்டர் டேனியல் ஒரு விஷயத்தை தெளிவாக முன்னுரையில் சொல்லியிருக்கிறார். அந்தக் கதை 1900களில் தேயிலைத்தோட்டங்களில் நடந்த நிகழ்வுகளைப் பற்றி அப்போது அங்கே வேலை பார்த்தவர்களிடம் அவர் கேட்டு பதிவு செய்ததன் அடிப்படையில் எழுதுவதாக் சொல்கிறார். தன் கதையின் ஆரம்பத்திலேயே கதை நடக்கும் வருடம் 1925 என்று சொல்கிறார். அந்தக் கிராமம் அரிஜனங்கள் வாழும் கிராமம் என்று எழுதுகிறார்.

பாலாவோ தன் படத்தில் கதை நடப்பது 1939ல் என்கிறார். அது தலித்துகளின் (அரிஜனங்களின்) கிராமம் என்பதற்கான குறிப்பு எதுவும் என்னைப் போன்ற பாமர பார்வையாளனுக்குப் புரியும் விதத்தில் படத்தின் முதல்பகுதியில் கிடையாது. அந்த கிராமம் பொய்யானது. அதில் இருக்கும் மனிதர்கள் தட்டையாக எல்லாரும் பாலாவின் சைக்கிக் பொம்மலாட்ட பொம்மைகளாக இருக்கிறார்கள். கிராமத்தில் வர்க்க அடுக்கோ சாதி அடுக்கோ தெரியவருவதில்லை. சோழர் காலத்திலிருந்து வரிவசூல் முறைகள் ஒழுங்குபடுத்தப்பட்டுவிட்ட தமிழகத்தில் ஒவ்வொரு கிராமத்திலும் அதற்கான அரசுப் பிரதிநிதி உண்டு. ஆட்சி சோழர் முதல் இங்கிலீஷ்காரர்கள் வரை மாறினாலும் இந்தப் பிரதிநிதியும், ரெவின்யூ அமைப்புகளும் தொடர்ந்து வருகின்றன. பாலாவின் கிராமத்தில் எதுவும் கிடையாது. எல்லாவற்றுக்கும் மேலாக அந்த கிராமம் 1939ன் தமிழ் கிராமம் என்பது பெரும்பொய். ஏனென்றால் 1939 என்பது இன்னும் எட்டே வருடங்கள்தான் சுதந்திரத்துக்கு அப்பால் இருக்கிறது. சுதந்திரப் போராட்டத்தின் உச்சமே கடந்துவிட்ட காலம் அது கடைசி போராட்டமே 1942தான். பெரியார் 1917லிருந்து 1924 வரை காங்கிரசில் இருந்துவிட்டு பின் சுயமரியாதை இயக்கம் நடத்திவிட்டு அடுத்து நீதிக்கட்சியிலும் இணைந்துவிட்டார். 1920 முதல் 1937க்குள் நீதிக்கட்சி 13 வருடம் ஆட்சி நடத்தியிருக்கிறது. 1939ல் பெரியார்தான் அதன் தலைவர். தனி திராவிட நாடு கோரி பெரியார் மாநில மாநாடு நடத்தியது 1939ல்தான். முதல் பாதி முழுக்க பாலா காட்டும் கிராமத்தில் இதற்கான எந்த அடையாளமும் கிடையாது. படத்தின் கடைசி பகுதியில் மட்டும் திடீரென இரண்டொரு வசனங்களில் காந்தியும் காங்கிரசும் தலை நீட்டுகிறார்கள்.

பாலா காட்டும் தேயிலை எஸ்டேட்டும் 1939ன் எஸ்டேட் அல்ல. ஏனென்றால் 1936 லேயே தேயிலைத் தோட்டங்களில் இந்திய கம்யூனிஸ்ட் கட்சியின் தொழிற்சங்க நடவடிக்கைகள் ஆரம்பமாகிவிட்டன. அதற்கான விழிப்புணர்ச்சி அங்கே தொடங்கிவிட்டது. பாலாவின் எஸ்டேட்டில் அதற்கான அறிகுறியே இல்லை. காரணம் நாவல் 1925ல் நடப்பதாக டேனியல் சொன்னதை பாலா 1939 என்று மாற்றிய தவறுதான். ஏன் 1939 என்று மாற்றினார் ?

எழுத்தாளர் டாக்டர் டேனியல் 1940 எஸ்டேட்டுக்குள் வந்தார். பாலாவின் படத்தில் வரும் கிறித்துவ டாகடர் பரிசுத்தமும் அப்போதுதான் வரவேண்டும் என்பதற்காக கதையை பாலா 1939ஆக மாற்றியிருக்கிறார். அதாவது டேனியல் பாத்திரத்தைத்தான் பரிசுத்தமாக பாலா இழிவுபடுத்த் திட்டமிட்டிருக்கிறார் என்பதில் எனக்கு எந்த சந்தேகமும் இல்லை.பாலாவின் இந்துத்துவ அரசியல் தொடர்ந்து கண்காணிக்கப்படவும் ஆய்வு செய்யப்படவும் வேண்டியதாகும். டேனியலின் நாவலில் அவர் தன்னையே ஆபிரகாம் என்ற டாக்டர் பாத்திரமாக்கி தான் எஸ்டேட்டுக்கு வந்ததையும் தன் அனுபவங்களையும் சொல்கிறார். தொழிலாளர்களுடன் கிறிஸ்துமஸ் கொண்டாடியதை விவரிக்கிறார். அந்த கிறிஸ்துமஸ் அனுபவங்களை பாலா எடுக்கவில்லை. நேர்மாறாக டேனியலைக் கேவலப்படுத்தி குத்தாட்டம் போட்டு மதமாற்றம் செய்யும் கோமாளியாகக் காட்டியிருக்கிறார். கதை உரிமையை படமாக்க பாலாவுக்குக் கொடுத்த டேனியலின் வாரிசுகள் இதற்காக பாலா மீது அவதூறு நஷ்ட ஈடு வழக்கு போட போதுமான முகாந்தரம் இருக்கிறது. மத போதகர்களை கிண்டலடிப்பதையும், படத்தின் முதல்பாதியில் நாஞ்சில் நாடனின் சரமாரியான தென் தமிழக பாலியல் கெட்ட வார்த்தை வசவுகளையும் யூ படத்தில் அனுமதித்திருக்கும் சென்சார் போர்ட், இனி பாலாவின் ஆன்மீக வழிகாட்டி ஜக்கி, ஜயேந்திரர், பிஜே போன்றோரை கிண்டல் செய்தும், சென்னை தமிழ் வசவுகளை சரமாரியாக அனுமதிக்கவும் முன்வரவேண்டும் என்று வலியுறுத்த விரும்புகிறேன்.

டேனியலின் நாவலில் கங்காணிகளும் அதே சாதியினர்தான். அதுதான் முதலாளிகளின் தந்திரம். பாலா படம் அந்த தந்திரம் பற்றிப் பேசுவதில்லை.டேனியல் நாவலில் முழு கிராமமும் நடை பய்ணமாக புறப்பட்டு செல்வதில்லை. ஒரு ஜோடி ஊரை விட்டு பழனிக்குப் போய் ரயிலில் கங்காணியால் அழைத்து செல்லப்பட்டு போகிறது. பாலா படத்தில் எல்லாரும் போகிறார்கள். ஏன் எல்லாரும் போகிறார்கள்? கடும் பஞ்சமா? ஊரில் வேலை இல்லையா? அதெல்லாம் எதுவும் சொல்லப்படவில்லை. ஊரை பஞ்சக் கொடுமையில் சிக்கி தவிக்கும் ஊராகவே பாலா காட்டவில்லை. குதூகலமாக கல்யாணம் நடக்க விருந்து சாப்பிடும் சூழல்தான் காட்டப்படுகிறது. அதையடுத்து பெரும் பஞ்சம் என்ற ஒரு குறிப்பு கூட கிடையாது. ரயிலில் செல்லாமல், நடந்து எஸ்டேட்டுக்கு செல்பவர்கள் 48 நாள் நடக்கிறார்களாம். அப்படி நடந்தால் உத்தரப் பிரதேசத்துக்கே போய்விடலாம். தென் தமிழ்நாட்டிலிருந்து மேற்கு வால்பாறைக்கு செல்ல பத்து நாள் நடந்தாலே போதும். பாலாவின் ஜனங்கள் நடந்து போகிற வழியில் 48 நாட்களிலும் வழியில் ஒரு ஊர் கூட கிடையாது. வழி நெடுக பொட்டல் காடுதான். இப்படி எல்லாமே பொய். எஸ்டேட்டில் ஆங்கிலேய முதலாளி பாத்திரம் மசாலா சினிமாவின் காமெடி வில்லன் மாதிரி இருக்கிறது. குமரிமுத்து மாதிரி அவர் தோட்டப்பெண் தொழிலாளிகளிடம் விஷமம் செய்கிறார். டேனியலின் நாவல் எஸ்டேட் அதிபர்கள் எப்படி பாலியல் குற்றங்கள் செய்வார்கள் என்பதை துல்லியமாக சொல்லியிருக்கிறது, ஆசைப்படும் பெண்ணை பங்களாவுக்கு அனுப்பச் சொல்வார்களே ஒழிய, திறந்த வெளியில் களத்தில் வம்பு செய்யமாட்டார்கள். அப்படி செய்யக்கூடியவர்கள் மேஸ்திரிகள், கங்காணிகள் போன்றோர்தான். இந்த நுட்பங்களெதிலும் பாலாவுக்கு அக்கறையில்லை. இவரைத்தான் மகா இயக்குநர் என்று ஜால்ரா அடிக்கிறது ஒரு கூட்டம்.

இன்னும் சொல்லிக் கொண்டே போகலாம். சொல்லப் போவதில்லை. இப்படியாக பாலாவின் சைக்கிக் பார்முலாவில் மொண்னையாக எடுக்கப்பட்ட ஒரு படம்தான் பரதேசி. ஒவ்வொரு முறை டீ குடிக்கும்போதும் தோட்டத் தொழிலாளிகளின் ரத்தமும் வியர்வையும் நினைவுக்கு வருவதை சாதித்த ஒரே படம் சில வருடங்கள் முன்பு ம.க.இ.க எடுத்த ஆவணப்படம்தான். தொழிலாளர்களின் அடிமை நிலையைப்பற்றிய சோகத்தையும் அதையொட்டிய நம் கோபத்தையும் கமர்ஷியல் பார்முலாவுக்குள்ளேயே நின்று எடுத்த வசந்தபாலனின் அங்காடித்தெரு ஏற்படுத்தியதில் கால்வாசியைக் கூட பரதேசி எனக்கு ஏற்படுத்தவில்லை. கலைப்படம் போல பொய்த் தோற்றம் காட்டும் ஒளிப்பதிவும், இசையும், படக்குழுவினரின் கடும் உழைப்பும் ஒரு படம் சரியானதாக இருப்பதற்குப் போதாது. படத்தில் ஒரே நிஜமான பாத்திரத்தில் சிறப்பான நடிப்பை அளித்திருப்பது அதர்வாவின் பாட்டியாக நடித்திருக்கும் கச்சம்மாள் மட்டும்தான். அவரை நடிக்கவைத்ததற்காக பாலாவைப் பாராட்டுவதைத் தவிர வேறு எதற்காகவும் என்னால் பாலாவைப் பாராட்ட முடியாது.
By GNANI in FB

[Anban]

saw a bit of the "thannai thaane" song..

:rotfl:

mudiala.. kannula irunthu thanni vara alavukku sirippu varuthu ..


but, christian missionaries have done admirable work in the education and uplifting the standard of oppressed people in our country. that cant be denied.. there are always stray cases like this.

[sakaLAKALAKAlaa Vallavar]

Paradesi god NA for Costume design :)

[PARAMASHIVAN]

IMO, bala is probably the best direector Tamil cinema produced since 2000. He had touched the subject that no one would really think of it or dare to do it.. Indeed! He reminds of 80's Mahendran!

[PARAMASHIVAN]

but, christian missionaries have done admirable work in the education and uplifting the standard of oppressed people in our country. that cant be denied.. there are always stray cases like this.

yes, and we all know who to blame for this "Oppression" !

[sakaLAKALAKAlaa Vallavar]

One thing, i don't think bala is a pro hindu guy. He made all possible wits against Hindu Gods in Naan Kadavul. Good that he has the guts to touch other religions too!

[PARAMASHIVAN]

what about the classic madharasapattinam? True!

[PARAMASHIVAN]

One thing, i don't think bala is a pro hindu guy. He made all possible wits against Hindu Gods in Naan Kadavul. Good that he has the guts to touch other religions too!

You mean the drama group of disabled people? If so, I don’t see anything in that to degrade Hindu deities!

[Anban]

paramu,

direct-a kettai vaarthai solli thitturathe irukku.. he is an athiest..

[Cinefan]

Dig:
Conversions were facilitated because of the discriminatory caste system prevailing in the so-called* Hindu soceity.

*- Because Hindu religion is not a monolith.It's an amalgamation of different though processes,ideologies coming together on the basis of a common goal.

It became a religion as the years passed and ideologies degenerated to rules,restrictions,parameters etc etc

Medical treatment,education and money were the three pillars which aided them* in their endeavour

* - Not a generalization,there have been many who have selflessly served soceity

But the fact is,most of such converted people have not been able to attain equal status in that religion because as is the wont of human nature,biases and discrimination have creeped in there too.

This is the reason why,we have a situation where even converted christians and Muslims are demanding reservation facilities based on the original caste they belonged to.

They forget that they supposedly converted because they did not want to be discriminated on the basis of caste and these religions supposedly treat everyone as equal.

Also,the converts have not been able to fully deny their roots,environment in which they grew and we have situations where Christians have Hindu names,go to the church and temple,celebrate hindu and christian festivals,have photos of Hindu Gods/Goddess,Jesus,Mother Mary.

End Dig

[Anban]

yes, and we all know who to blame for this "Oppression" !
not only a particular caste.. the rest of the society is to be blamed..

[PARAMASHIVAN]

he is an athiest..

oh I see ..

[PARAMASHIVAN]

*- Because Hindu religion is not a monolith.It's an amalgamation of different though processes,ideologies coming together on the basis of a common goal.

exactly!

[venkkiram]

joe, p_r padam paarthachaa?

[balaajee]

Poornima Ramaswamy of Bala's Paradesi has bagged the Natrional award for Best Costume Designer.

[SoftSword]

paramu,

direct-a kettai vaarthai solli thitturathe irukku.. he is an athiest..

yes i remember that particular dialogue... but i dont think if its sufficient to declare him as an atheist... maybe..

[Cinemarasigan]

Poornima Ramaswamy of Bala's Paradesi has bagged the Natrional award for Best Costume Designer.



:clap:

[Anban]

yes i remember that particular dialogue... but i dont think if its sufficient to declare him as an atheist... maybe..
he declared that himself, in an interview

[venkkiram]

Anban, Softie நீங்கள்-லாம் பரதேசம் போயிட்டு வந்துட்டிங்களா இல்லையா?

[venkkiram]

"தொழிலாளர்களின் அடிமை நிலையைப்பற்றிய சோகத்தையும் அதையொட்டிய நம் கோபத்தையும் கமர்ஷியல் பார்முலாவுக்குள்ளேயே நின்று எடுத்த வசந்தபாலனின் அங்காடித்தெரு ஏற்படுத்தியதில் கால்வாசியைக் கூட பரதேசி எனக்கு ஏற்படுத்தவில்லை. "

- ஞானி சொன்ன பல விஷயங்களில் எனக்கு வாசித்த, கேட்ட அனுபவம் இல்லை. ஆனால் இந்த வரிகளுக்கு மட்டும் முழு உடன்பாடுண்டு.

[SoftSword]

he declared that himself, in an interview

oh.. adhu theriyadhu...
enga sonnaar...?


venki...
planning for this orange wednesday...
warning: am a medium-core bala fan...

[venkkiram]

venki...
planning for this orange wednesday...
warning: am a medium-core bala fan... ஓ! தாராளமா! இருந்துட்டு போங்க. ஹப்பின் வெவ்வெறு துருவ இயல்பே அதுதானே. நீங்க இன்னும் பார்க்கலியா எனக் கேட்பது எனது விமர்சனத்திற்கு சார்பா பேசணும் என்ற எதிர்பார்ப்பில் அல்ல என்பதை "படத்தை இன்னும் பார்த்திட்டிங்களா!"ன்னு கேட்கும் போதே எழுதனும்னு நெனச்சேன்.

[SoftSword]

ஓ! தாராளமா! இருந்துட்டு போங்க. ஹப்பின் வெவ்வெறு துருவ இயல்பே அதுதானே. நீங்க இன்னும் பார்க்கலியா எனக் கேட்பது எனது விமர்சனத்திற்கு சார்பா பேசணும் என்ற எதிர்பார்ப்பில் அல்ல என்பதை "படத்தை இன்னும் பார்த்திட்டிங்களா!"ன்னு கேட்கும் போதே எழுதனும்னு நெனச்சேன்.

illa venki.. i know u did not ask in that tone and it was a general question...
i added that warning as a munjaameen for my liking on the movie after i watch :)

[LihDacRurdy]

Poornima Ramaswamy of Bala's Paradesi has bagged the Natrional award for Best Costume Designer.


yes now ly saw the news and VR got 2

[kalyan]

Dig:
/// It is extremely surprising that the very people who required cheap labour to work in their fields, who made sure that the landless labourers (Dalits) never earned enough to buy a piece of land on their own, the very people who made sure that the landless labourers' children never got enough education so that their supply of cheap labour will continue for centuries together, the very same agricultural communities (naickers, gounders, mukkulathor, vanniyar etc) who burn entire colonies/hack dalits to death if a dalit marries their daughter, come out and speak in online forums as if they are 'pure as milk' and "other communities" will have to be blamed for the 'oppression'!!! Honestly, who needs cheap labour? an agriculturalist or a government servant/priest? It is high time that these hypocrites are shown their place.///

End dig.

[SoftSword]

kalyan, which community are u talking for?? and which one ur talking against?? pardon me... i dont get the drift...

[PARAMASHIVAN]

kalyan, which community are u talking for?? and which one ur talking against?? pardon me... i dont get the drift...

I think I know , sensitive issue, let's leave it :)

[thamiz]

kalyan, which community are u talking for?? and which one ur talking against?? pardon me... i dont get the drift...

Kalyan talks about a "community" in which everyone is "INNOCENT". "God" created them in such a "holy manner"!

:rotfl:

[thamiz]

kalyan, which community are u talking for?? and which one ur talking against?? pardon me... i dont get the drift...

No one need to "pardon" you. It is kalyan who brought up caste discussions in film section!

He is ALWAYS pardoned here! :lol:

[kalyan]

No one need to "pardon" you. It is kalyan who brought up caste discussions in film section!

He is ALWAYS pardoned here! :lol:

Thamiz,

It was not a discussion. It was a just a few stray remarks made in the previous pages. Nothing more. Nothing less.

[SoftSword]

pls all...
cut the useless caste crap and get back to paradesi...

[HonestRaj]

what other offbeat track is left for bala to cover?

mandiravadi performing black magic?

that was taken by Aabavanan - Karuppu Roja

[Avadi to America]

Dig:
Conversions were facilitated because of the discriminatory caste system prevailing in the so-called* Hindu soceity.

*- Because Hindu religion is not a monolith.It's an amalgamation of different though processes,ideologies coming together on the basis of a common goal.

It became a religion as the years passed and ideologies degenerated to rules,restrictions,parameters etc etc

Medical treatment,education and money were the three pillars which aided them* in their endeavour

* - Not a generalization,there have been many who have selflessly served soceity

But the fact is,most of such converted people have not been able to attain equal status in that religion because as is the wont of human nature,biases and discrimination have creeped in there too.

This is the reason why,we have a situation where even converted christians and Muslims are demanding reservation facilities based on the original caste they belonged to.

They forget that they supposedly converted because they did not want to be discriminated on the basis of caste and these religions supposedly treat everyone as equal.

Also,the converts have not been able to fully deny their roots,environment in which they grew and we have situations where Christians have Hindu names,go to the church and temple,celebrate hindu and christian festivals,have photos of Hindu Gods/Goddess,Jesus,Mother Mary.

End Dig

I wanted to add one more point here.
The religious conversion in India is a multilayer problem which has to be viewed in various angles. As we all know, our society was classified in to four categories/strata as per varnashrama. Inside the four strata, there are several cast and sub castes. When you look where the center of knowledge about religion, it mostly lies in the top layer and the lack in knowledge is quite visible as you go further down. The knowledge depicts a shape of inverted triangle. But the majority of the people belong to bottom two layers of community who has very minimal knowledge on religion. This is one of the pivotal reasons, addition to other social differences, why do we see more conversion has happened in the bottom than top. People belong to bottom layer do not have sufficient knowledge to defend themselves when someone preaches their religion, for instance Christianity/Islam/Buddhism. If a preacher from other religion talks high about their god/holy books, a person who know the religion can answer them from Hindu scriptures since he has sufficient knowledge about the religion. Even it’s quite visible in our hub that some people can talk eloquently about what Hinduism means or god is nothing but source of power/universe or what advaitham and dwaitham means etc….But it’s not possible to everyone. At the same time, I’m not saying that conversion did not happen in top level. In Kerala, Syrian Christians believe that they were originally nambudhiris before they became Christian. But what I’m saying is less and less people converted to other religion from top rungs than bottom one.

[Avadi to America]

I felt lyrics are excellent in the movie, especially when people moves from village to tea estate. if anyone has lyrics please paste it here.

[venkkiram]

I felt lyrics are excellent in the movie, especially when people moves from village to tea estate. if anyone has lyrics please paste it here. A2A, I had posted that song in my previous posts.

[easygoer]

I wanted to add one more point here.
The religious conversion in India is a multilayer problem which has to be viewed in various angles. As we all know, our society was classified in to four categories/strata as per varnashrama. Inside the four strata, there are several cast and sub castes. When you look where the center of knowledge about religion, it mostly lies in the top layer and the lack in knowledge is quite visible as you go further down. The knowledge depicts a shape of inverted triangle. But the majority of the people belong to bottom two layers of community who has very minimal knowledge on religion. This is one of the pivotal reasons, addition to other social differences, why do we see more conversion has happened in the bottom than top. People belong to bottom layer do not have sufficient knowledge to defend themselves when someone preaches their religion, for instance Christianity/Islam/Buddhism. If a preacher from other religion talks high about their god/holy books, a person who know the religion can answer them from Hindu scriptures since he has sufficient knowledge about the religion. Even it’s quite visible in our hub that some people can talk eloquently about what Hinduism means or god is nothing but source of power/universe or what advaitham and dwaitham means etc….But it’s not possible to everyone. At the same time, I’m not saying that conversion did not happen in top level. In Kerala, Syrian Christians believe that they were originally nambudhiris before they became Christian. But what I’m saying is less and less people converted to other religion from top rungs than bottom one.

Excellent thoughts A to A.... According to many Hindu people, religion means just going to temples... Only very few people have the knowledge of self realization, body, mind and soul, karmya yoga so and so... As you said,only people at the top strata have the knowledge regarding it. When people from some other religion comes to the people at the lower starat and speaks about the same things, they think they are speaking something new and immediately convert to their religion only out of ignorance. This "ignorance" is the only reason behind religious conversions.

If we dwell deep to find out the reason for that "ignorance", It's again the same hindu people. Hindu religion stresses to spread affection, think "all are one" and feel only love. But some learned men(not all)thought that they are superior class and felt that the religion is only for them. so obviously, the essence of the religion didn't reach another major section and other religion missionairies took it for their advantage...

[easygoer]

what about the classic madharasapattinam?

SS... serious'a pesum pothu comedy pannikittu.... :)

[stULana]

Anban,
I thought you would understand that I used "commercial reasons" in the generic sense. Kamal's muthams are not just for reality sake..thinking so would be stupidity (using the term as you used it ;)). He westernizes "it" and his weakness shows..and am glad VR did not have it. He has better art work to do/show off. He thought it was cool for publicity/shock in Hey Ram posters with Rani, and audience showed it was sooo uncool. He has learnt the hard way, and seems to have struck a good balance/maturity in Dasa and VR. It is in that aspect, uncompromising attitude of female charecterizations, I say that Bala is much better and more like K. Vishwanath (above KH and MR with compromises!).

Cinefan,
You and Anban actually echo my feelings - those were commercial negatives.

SKV,
Please do not see my statements out of context. I did not single out KH, included MR as well :wink:

As already clarified earlier, all I meant was this. Please don't read it out of context:
"He is the only popular Movie Director in India, and the entire world, to have exercised this level of control on his woman characters..even after 10+ years, even after 6 movies. He choose not to. :clap::bow:"

Bala earned it himself (inspite of KH and MR), and IMHO, deserves to be applauded for that (this, besides the creativity part). I am glad atleast a couple of hubbers agree to this. It would be a bonus (and too happy for me) if KH and MR can maintain so for even 5 yrs ;)

[Chikatiloan]

Anban,
I thought you would understand that I used "commercial reasons" in the generic sense. Kamal's muthams are not just for reality sake..thinking so would be stupidity (using the term as you used it ;)). He westernizes "it" and his weakness shows..and am glad VR did not have it. He has better art work to do/show off. He thought it was cool for publicity/shock in Hey Ram posters with Rani, and audience showed it was sooo uncool. He has learnt the hard way, and seems to have struck a good balance/maturity in Dasa and VR. It is in that aspect, uncompromising attitude of female charecterizations, I say that Bala is much better and more like K. Vishwanath (above KH and MR with compromises!).

Cinefan,
You and Anban actually echo my feelings - those were commercial negatives.

SKV,
Please do not see my statements out of context. I did not single out KH, included MR as well :wink:

As already clarified earlier, all I meant was this. Please don't read it out of context:
"He is the only popular Movie Director in India, and the entire world, to have exercised this level of control on his woman characters..even after 10+ years, even after 6 movies. He choose not to. :clap::bow:"

Bala earned it himself (inspite of KH and MR), and IMHO, deserves to be applauded for that (this, besides the creativity part). I am glad atleast a couple of hubbers agree to this. It would be a bonus (and too happy for me) if KH and MR can maintain so for even 5 yrs ;)

Again your statements are absolute rubbish..why kamal,MR wants to maintain the way bala is maintaining..everyone is unique..bala beats the artist at the time of making films..can i ask him to maintain the dignity of film making maintained by kamal,MR without beating up the artist..as i said earlier all of them are unique and Kamal,MR are legends and know how to maintain their standards..I too love bala films but why the hell u r comparing with kamal,MR..
"Bala earned it himself (inspite of KH and MR)" --Even KH,MR earned themselves so just stop using words which are provoking..again in next post dont say "i never meant like that" "you did not understand my point"..The best way to appreciate the movie is without comparing with other great films or great actors and not trying to degrade them even by a fraction..

[stULana]

USV,
Please don't vent your anger on me. Easy :) I did mean what I meant. As stated yesterday itself, I was only highlighting the parts in bold - Bala's uncompromising neat portrayal of women characters, even after 12 years, even after 6 movies, which is one of its kind in the movie world.

Subsequent posts by you/others and my further explanations may have made it seem like comparisons. In this particular aspect, Bala stands taller and I stand by it. He is incomparable.
These 3 are my top 3, and it is the selfish me wanting others to be as good. That's all. I understand their strengths and weaknesses to quite an extent, IMHO. Let us move on..applauding Bala for this distinct trait he has exhibited in a tough commercial competitive environment, which is unique in the world :bow:

[ravi200101]

Bala has dealt upon a theme which many would not like to take up. The exploitation of the weaker sections/ under privileged which is prevalent even today has to be taken up seriously and all efforts needs to be taken to eradicate the exploitation. Many of the factories / tea estates in remote areas all over India do rampant exploitation of the weaker sections. Take for example , the " chengal choolais", the cracker manufacturing units, textile units, dyeing units, chemical factories,etc. Bala's effort to show this exploitation needs to be applauded as many a media like the Television channels, Newspapers,etc does not bring in the necessary awareness to the public. Cinema could be one medium through which this awareness could be strongly put on notice. Hopefully by bringing in more awareness to the public we expect an improvement to the prevalent situation.
However felt that making fun of the Christian conversions done by the Christian missionaries was a bit exaggerated and took a diversion from the main film theme. Even if the conversions were real and realistically depicted , i do not see any harm these conversions did to the under privileged.

[Cinefan]

Even if the conversions were real and realistically depicted , i do not see any harm these conversions did to the under privileged.

Did them no good too which is the original reason for some body converting.

On top of it,conversion is mainly promotion and is done to tilt the balance in favour of a particular religion.

It's not difficult to see that politicos, now, apart from pandering to caste/sub caste,also pander to certain religious sentiments whereever a particular group are in a majority.Meaning, a particular group calls the shots and there is no guarantee that the group has the long term interests of the nation in mind.

Caste is the bane of our soceity and unless removed we will remain divided.The same applies to religious conversions/pandering too.

The idea anyone bent on conversions carries is that his/her religion should become the mainstay of a particular place-village,town,city,state,nation.

Why would/should any state/nation allow the balance to get tilted artificially???????

[Cinefan]

A2A,
You have added some nice thoughts to my post

[paranitharan]

Again your statements are absolute rubbish..why kamal,MR wants to maintain the way bala is maintaining..everyone is unique..bala beats the artist at the time of making films..can i ask him to maintain the dignity of film making maintained by kamal,MR without beating up the artist..as i said earlier all of them are unique and Kamal,MR are legends and know how to maintain their standards..I too love bala films but why the hell u r comparing with kamal,MR..
"Bala earned it himself (inspite of KH and MR)" --Even KH,MR earned themselves so just stop using words which are provoking..again in next post dont say "i never meant like that" "you did not understand my point"..The best way to appreciate the movie is without comparing with other great films or great actors and not trying to degrade them even by a fraction..t
I understand what isaifan has been trying to convey. You are missing his point and quite frankly your reply is bad. He's making an observation without comparing them.

[ravi200101]

Did them no good too which is the original reason for some body converting.

On top of it,conversion is mainly promotion and is done to tilt the balance in favour of a particular religion.

It's not difficult to see that politicos, now, apart from pandering to caste/sub caste,also pander to certain religious sentiments whereever a particular group are in a majority.Meaning, a particular group calls the shots and there is no guarantee that the group has the long term interests of the nation in mind.

Caste is the bane of our soceity and unless removed we will remain divided.The same applies to religious conversions/pandering too.

The idea anyone bent on conversions carries is that his/her religion should become the mainstay of a particular place-village,town,city,state,nation.

Why would/should any state/nation allow the balance to get tilted artificially???????

I disagree to the point that it did not do them any good. The children belonging to the Christian converts were given preferences including educational institutions. You can find many under privileged children today in good positions and mingle with the normal society which hitherto was only a dream because of the oppressional attitude of the higher society.
I agree to the point that religious fundamentalism should be eradicated at all levels. But in India you have multiple divisions - the castes, sub-castes, religons, sub- religions, linguistical divisions, etc - all these needs to be eradicated which is next to impossible. If someone seriously introspects, the caste and religious beliefs are strong in the minds of the poorer section. Why it is so? It is because that they have been pushed to a corner of the society where their future and living look bleak and strongly start believing gods to save them. When they get some small benefits or feel like getting a great future by joining hands with a sect they do so.
Imagine India to be without religion, i believe still their would be lot of infighting because of caste, language or some newly invented divisions. The root cause for these divisions is the huge variation in economy levels between richest, richer, rich, high end middle class............... to the poorest. Only when all levels of people understand the deficiencies and accept that all others living in this country are also human being and were driven to this state and work for a solution, nothing will change.

[SoftSword]

love the discussion here...!!

[Anban]

Anban, Softie நீங்கள்-லாம் பரதேசம் போயிட்டு வந்துட்டிங்களா இல்லையா?GVP music director-aa pottappaye, intha padatha kai kaluvi vittaachu ..

[NOV]

Too much of discussion here over the last few pages. Will read later at leisure.

I watched in Thanjavur local theatre.
Crowd broke into applause and whistle when Bala's name appeared.
Movie is dark and very depressing.
Finale is very demotivating.
GVP has done a reasonable job, considering that this is a dark film. No loss for Bala in going to him.
Some of the lyrics of the songs have been written by Bala himself.
Generally, I feel that the film has been made for awards.
Not the best of Bala but still a good docu-drama.

[Cinemarasigan]

Too much of discussion here over the last few pages. Will read later at leisure.

I watched in Thanjavur local theatre.
Crowd broke into applause and whistle when Bala's name appeared.
Movie is dark and very depressing.
Finale is very demotivating.
GVP has done a reasonable job, considering that this is a dark film. No loss for Bala in going to him.
Some of the lyrics of the songs have been written by Bala himself.
Generally, I feel that the film has been made for awards.
Not the best of Bala but still a good docu-drama.

Welcome back to Hub... hope you had a nice experience in watching a movie in Thanjavur kind of small town..

[NOV]

Enna nice experience.
Movie spoiled my happy mood. :(
Which is not taking anything away from the film.
Packed hall too

[Cinemarasigan]

I disagree to the point that it did not do them any good. The children belonging to the Christian converts were given preferences including educational institutions. You can find many under privileged children today in good positions and mingle with the normal society which hitherto was only a dream because of the oppressional attitude of the higher society.


Not all these people who got converted to Christianity are getting these benefits... Do you mean to say to get all these small benefits people can convert to christianity?

[Cinefan]

ravi,
Are you saying that all converts got access to education which was denied till then?Do all Christian institutions give good education?

There are many who have studied in government schools and done very well in life(meaning good positions,good income etc etc etc).The doors of these schools were never closed to anybody.

Also there are many well known christian institutions which charge a bomb and do not give entry to children from lower strata of soceity.

On top of it,the RTE act(which I seriously disagree with) excludes minority institutions(which they insisited citing autonomy,the fact that they are a minority and need special benefits)

[balaajee]

Too much of discussion here over the last few pages. Will read later at leisure.

I watched in Thanjavur local theatre.
Crowd broke into applause and whistle when Bala's name appeared.
Movie is dark and very depressing.
Finale is very demotivating.
GVP has done a reasonable job, considering that this is a dark film. No loss for Bala in going to him.
Some of the lyrics of the songs have been written by Bala himself.
Generally, I feel that the film has been made for awards.
Not the best of Bala but still a good docu-drama.

Do movie looks artificial ?? comment given by my bor-in-law...

[SoftSword]

// digg

no offense meant balajee...
remba naala naan unga id'ya sports news bot maadhiri cine news bot'nu sandhegappattutu irundhen... :)

[Avadi to America]

A2A,
You have added some nice thoughts to my post

Thanks cinefan. The thought I brought here is one of the oldest religion in the world hasn't reached its core constituency after thousands of years. We had heard a lot of stories about vaishnavites/saivaites/samanars died for their belief in religion. Because they had a great understanding about the religion and they believed in it. Even today, it is a quite difficult to convert a Brahmin to other religion than any lower caste. I haven’t seen any institution/individual in my life time who tried to teach about Hindu religion to a common man. We cannot treat a religion like a black box which can be appreciable to only a very few.
Even today, the majority of SCs are still follows hindusim, about 15% , other 9% people are in Christianity/islam/buddism/Sikhs etc. I still remember what periyavar kanchi sangrachiyar said about lower caste people. “ivolovo prachanagalu appuramum intha makkal innum namma kadu irrukuranganna athu kadavuloda arul thaan” something like that…..

[balaajee]

// digg

no offense meant balajee...
remba naala naan unga id'ya sports news bot maadhiri cine news bot'nu sandhegappattutu irundhen... :)
Again u missed balaajee

[NOV]

Read the posts of anti-Bala group and those are more depressing than the film itself. :sigh2:


....criticize bala for not choosing ilaiyara/yuvan as MD which I can sense the anger in this hub.. :exactly:

but they are not the majority... most Hubbers have good words about the movie.


The screenplay is coherant and is well paced and there is no boring moments at all. Bala easily suceeds in making the audience to have an emotional bondage with the characters. Both the cinematographer and the musician has helped bala to create an authentic and realistic feel. surely I would rate this as one of the most gut wrenching movie I have ever seen... Kudos and big salute to Bala


At the end of the year, Paradesi will be among the best films of the year. Not that it's without flaws but they are negligible. Bala sticks to his strengths and is very well within his comfort zone.

..... GVP's songs and bgm were good. I believe he was subjected to the reality teaser treatment. All said, this should be at the top of his résumé. Chezhiyan's cinematography was another high point. The b/w tone worked very well.
Paradesi is a must watch.

Agree with both hubbers above.

Those who have yet to watch the film, do not get distracted by angry Hubbers. :rotfl2:

[NOV]

Do movie looks artificial ?? comment given by my bor-in-law...adhu oru karuththu. :)
Is he a IR, Ajith or ARR fan? :D ... if yes, take it with a pinch of salt ;)

[balaajee]

adhu oru karuththu. :)
Is he a IR, Ajith or ARR fan? :D ... if yes, take it with a pinch of salt ;)

He is Ajith fan...

[Avadi to America]

Ranking based on Chennai Box Office Collections from Mar 11th 2013 to Mar 17th 2013 Week : 1
Total collections in Chennai : Rs. 1,45,07,325
Verdict: Good Opening
No. Shows in Chennai (Weekend): 486
Average Theatre Occupancy (Weekend): 70%
Collection in Chennai (Weekend): Rs. 1,45,07,325

[SoftSword]

adhu oru karuththu. :)
Is he a IR, Ajith or ARR fan? :D ... if yes, take it with a pinch of salt ;)

what if he is a gvp fan?

[stULana]

Not sure if this has been posted already, but here is Bala clarifying on Paradesi reality teaser, mentioning that the movie industry folks over-reacting is unfortunate..and "romba childish..romba chinna pulla thanamaa iruku" ;)
https://www.youtube.com/watch?v=PHflWuJjc6M

[NOV]

:rotfl:
I have always enjoyed his interviews... damn witty he is :lol2:

[stULana]

Bala has dealt upon a theme which many would not like to take up. The exploitation of the weaker sections/ under privileged which is prevalent even today has to be taken up seriously and all efforts needs to be taken to eradicate the exploitation......
....Bala's effort to show this exploitation needs to be applauded as many a media like the Television channels, Newspapers,etc does not bring in the necessary awareness to the public. Cinema could be one medium through which this awareness could be strongly put on notice. Hopefully by bringing in more awareness to the public we expect an improvement to the prevalent situation.


Ravi, very well said.

I feel the same..it is his way of giving back to the society I guess. Naan Kadavul about pichhakkaara-mafia (unlike underworld mafia) and Paradesi (exploitation of under privileged) are exactly that - improving awareness and making people realize. The subjects are mass/rural/class B/C related, and he expects them to understand his movies! That is the confidence he reposes on the viewers..no underestimating his audience, especially the B/C class :bow:
He neither provides them the entertainment that other film makers provide, nor does he try to please the urban market. But, the mass/common man accepts his movies, and urban folks know there is something worth (learning!) in his movies. Such folks become his fans..when he is not providing any entertainment that the usual A/B/C class are provided with.

[stULana]

A highly positive review: http://www.filmzstop.com/paradesi/

"The film deserves to be watched by every single Indian. This one is robustly recommended. Try not to miss this one."

- by Chinmay Nakhwa, a B.Com graduate from Mumbai. Currently pursuing Masters in Media Studies from Whistling Woods International.

[stULana]

Another super review: http://www.bollywoodlife.com/news-gossip/paradesi-movie-review-balas-film-is-a-tour-de-force-of-a-movie-that-hits-you-like-a-freight-train-and-leaves-a-lasting-impression/

Bala’s film is a tour de force of a movie that hits you like a freight train and leaves a lasting impression

Paradesi is a film like none other you have seen in Indian cinema until now. Simple in the way it’s made, yet so tasteful and clever in the way it approaches its subject matter, it almost takes you by surprise when it launches full speed into the investigation of the human condition under slavery.

Here is where the movie turns on its heel and delivers gut punching moments in the form of sharply crafted scenes that play across beautifully, yet with an impending sense of doom. And its characters never forget their sense of humour, dark as it may be. And although this period film is purely story based, Bala has injected it with characters so real that they only help build a stronger connect with the audience. The director has managed to extract flawless performances from all the actors including Atharva, Vedhicka and Dhansika for whom it must have been tough role both physically and mentally.

The parched, stony landscape reminds you of Quentin Tarantino’s Djago Unchained, mainly because that one was released so close to Paradesi. Yet Bala’s take, unlike Tarantino’s, is so reverent and humane that it leaves you with a very different aftertaste. Vairamuthu, who wrote the lyrics, has produced pure poetry, and at times even a subtitle says enough to run chills up and down your spine.

Paradesi secures a place right up there with Schindler’s List and others that give a voice to those untold tales of cruelty and horror. :bow: Such a well crafted film deserves to be seen…and awarded. It’s too important to be ignored.

[balaajee]

http://timesofindia.indiatimes.com/city/chennai/From-tea-estates-to-terror-Tamil-flicks-light-up-national-awards/articleshow/19055732.cms


Poornima Ramaswamy won the best costume designer award for lending authenticity to colonial-era life in tea estates in director Bala's 'Paradesi'. "I did a lot of research and went through several books to get the look of the 1900 s right," says 33-year-old Ramaswamy. It helped that director Bala had a clear vision though Ramaswamy and her team had to race against time to finish work. "I am a full-time mom and part-time designer and used to design clothes at my father's place. I am very excited as this is my first film," says Ramaswamy.

[Chikatiloan]

90% of the reviews for paradesi movie is good and many have given 4 stars which it rightly deserves..Meanwhile i just liked the way he answered the critics in the teaser..CBO opening week-end is good and hope it holds on for another week..

[kalyan]

Enna nice experience.
Movie spoiled my happy mood. :(
Which is not taking anything away from the film.
Packed hall too

Nov,

Hmmm....lots of positive WOM for the movie in the hub. I guess I should watch it....................or rather just buy the tickets as a respect to the filmmaker and stay at home (to avoid getting depressed). What wud u suggest?

[NOV]

Kalyan, it really depends on each individual. I hate being depressed and this film was not suitable during a vacation. But that's me.

For comparison sake, let's take Angaadi Theru. Altho that movie is also about ppl getting exploited and their hopeless lives, it ended on a positive note, and even with chopped legs the lead begins a new life.

In Paradesi, there is simply no hope. It was the reality then and we cannot pretend that they had something to look forward to. That's what makes this film unpalatable to some. While fiction has to follow some rules, reality respects and follows none.

Unlike earlier Bala films, this film has very little humour and you watch the proceedings with a heavy heart.
The first half sped fast and before you knew it, the interval came. The ending is also unexpected, and I would not have guessed it but for the lyrics of the song that comes in the bakground.

Watch it. But be prepared.

[Avadi to America]

Bonding labour was a batching process. Whenever the strength of work force went down due to illness, suicide, disease etc kangani went out and fetched more people. This might have happened every year or every few months. What a ruthless capitalism. There is only one objective, maximizing the profit at other's cost particularly laborer's cost.

[ajaybaskar]

NOV Anna,

For the whole of last week I was in Tanjore. :(

So which theatre? Jupiter or Big Cinemas?

[NOV]

For the whole of last week I was in Tanjore. :(:omg:
why didnt you see Tanjore hubbers thread? Met Ramal and his wife there. :)

Big Cinemas... huge cinema but deceptive from the outside.
the seats were packed like sardine and could hardly accommodate long legs.
Price was just Rs100 each... dirt cheap :p

[Cinemarasigan]

:omg:
why didnt you see Tanjore hubbers thread? Met Ramal and his wife there. :)

Big Cinemas... huge cinema but deceptive from the outside.
the seats were packed like sardine and could hardly accommodate long legs.
Price was just Rs100 each... dirt cheap :p

could not see Tanjore hubbers thread.. link please...

[ajaybaskar]

yeahh. where is it?

[ravi200101]

Not all these people who got converted to Christianity are getting these benefits... Do you mean to say to get all these small benefits people can convert to christianity?

No the point i am trying to say is the reason for the conversion. When someone is in despair they look for oppurtunities and when converting into a christian they are promised with oppurtunities they do so.
For your information ,even today all christians are given preferences in christian institutes. With so many christian institutions around definitely it is an advantage for the poor people to be a christian.

[ravi200101]

ravi,
Are you saying that all converts got access to education which was denied till then?Do all Christian institutions give good education?

There are many who have studied in government schools and done very well in life(meaning good positions,good income etc etc etc).The doors of these schools were never closed to anybody.

Also there are many well known christian institutions which charge a bomb and do not give entry to children from lower strata of soceity.

On top of it,the RTE act(which I seriously disagree with) excludes minority institutions(which they insisited citing autonomy,the fact that they are a minority and need special benefits)

My strong feeling is education is the one which makes the people think that all these infighting among us is for no good. Education with good living environment is the one which makes a person think that he is equal with others in this world. Their are lot of christian institutions around which provide good basic education and most of them give preferences for poor christian kids.

[arulraj]

http://www.moviecrow.com/News/2033/paradesi-positive-reviews-not-helping-overseas-bo

BO status ....:think:

[ravi200101]

Ravi, very well said.

I feel the same..it is his way of giving back to the society I guess. Naan Kadavul about pichhakkaara-mafia (unlike underworld mafia) and Paradesi (exploitation of under privileged) are exactly that - improving awareness and making people realize. The subjects are mass/rural/class B/C related, and he expects them to understand his movies! That is the confidence he reposes on the viewers..no underestimating his audience, especially the B/C class :bow:
He neither provides them the entertainment that other film makers provide, nor does he try to please the urban market. But, the mass/common man accepts his movies, and urban folks know there is something worth (learning!) in his movies. Such folks become his fans..when he is not providing any entertainment that the usual A/B/C class are provided with.

Thank you Isaifan,
In TN the strongest media is Cinema and this is the best medium to bring in awareness to the public and Bala should be deifinitely appreciated for the boldness in bringing out these dark situations rather than make money by opting for a commercial movie. I could not imagine how much efforts Bala would have taken to make these small actors work. I was dumb founded by the way he made the beggars act in Naan Kadavul so naturally and with lot of wit. Paradesi is an extension show casing his abilities.
I have watched many a great directors of Tamil making great films. But none of them had shown this much ability of making these type of strangers act like what Bala had done in these 2 movies. I think this is something new to Tamil cinema.

[VinodKumar's]

^ As expected. Though there are positive reviews from almost everywhere I dont see people interested to go theater to watch this movie ..i doubt will there be any repeated audiences for this movie .. so BO la perusa bayangarama irukaathu ...

[PARAMASHIVAN]

I have not watched the movie yet, but according to reviews, the movie describes the atrocities committed by our "long lost" Caucasian and Hispanic cousins. Despite that ... no protests from any fringe groups who inherited our Anglo Saxons belief system?

[NOV]

could not see Tanjore hubbers thread.. link please...


yeahh. where is it?
See hubbers lounge madurai/tanjore hubbers meet thread.

[NOV]

Critically acclaimed Tamil period-drama Paradesi, directed by Bala has got a magnificent opening at Tamil Nadu Box Office. In the first weekend, it has raked in Rs.4.86 crore in the state.

"The Rs.40 crore budget film collected approximately Rs.4.86 crore in its opening weekend in Tamil Nadu," trade analyst Trinath told IANS.

Directed by Bala Pazhanisaamy, Paradesi is based on the novel 'Red Tea'. It narrates the sufferings of tea plantation workers of pre-independent India. The film features Atharva Murali, Vedhika Kumar and Dhansika in the lead roles. It released all over March 15.

Filmmaker Anurag Kashyap bought the distribution rights and released the film in north and central India. It was released with English subtitles. At the recently announced 60th National Awards, Paradesi pocketed one award for the best costumes by Poornima Ramaswamy

Read more at: http://entertainment.oneindia.in/tamil/news/2013/paradesi-box-office-105820.html

[NOV]

In the opening weekend, Paradesi raked in £ 19,635 [Rs. 16.08 lacs] on 21 screens at UK Box Office.

At the US Box Office, Paradesi managed to collect $ 41,634 [Rs. 22.48 lacs] on 19 screens.

[SoftSword]

paradesi 40cr budget??
:D

[mugil123123]

paradesi 40cr budget??
:D

http://en.wikipedia.org/wiki/Paradesi_%282013_film%29
Budget INR9.5 crore

[stULana]

Interview with National Award winner for Best Costume Design, Poornima Ramaswamy for Bala's Paradesi. From 7:30 min, she mentions about Bala being "one of the most patient people", respect for his artistes, especially women, "extremely considerate, very good listener". In part 2, she mentions about NA expectations for other artistes.

http://www.youtube.com/watch?v=V4nLQlTPLTQ&list=PLV_aspERmuCK6juJYdKExGgFvhKosYWF6

[LihDacRurdy]

^ As expected. Though there are positive reviews from almost everywhere I dont see people interested to go theater to watch this movie ..i doubt will there be any repeated audiences for this movie .. so BO la perusa bayangarama irukaathu ...

Same feeling........

[balaajee]

Kumudam rated as SUPER.............lauded BALA all the way..............

[joe]

One thing, i don't think bala is a pro hindu guy. He made all possible wits against Hindu Gods in Naan Kadavul. Good that he has the guts to touch other religions too!
Framing indian Christians as converted for money and bread .. I am not surprised when he gets influenced by people like Jayamohan and Naanjil Nadan .

[joe]

This Jeyamohan and Nanjil nadan are from a district where Christians are majority and we very well know how they look christians .They very well know how and why christians were converted in KK dist and we also know where these 2 caste minded guys stand and their agenda.

[Dilbert]

Framing indian Christians as converted for money and bread .. I am not surprised when he gets influenced by people like Jayamohan and Naanjil Nadan .

Here we go again ! History is only His-story. Sometime its Ghost-story. Some converted to escape the wrath of Hindu Caste system. Which deprived several from attaining decent social status. Where in Religion like Christianity gave them comfort and much needed social eco-system to survive.
Lets not kid ourselves by saying forced conversions never happened.

Every former colonies (not NT's Vietnam colony) I am talking about imperial colonies is living proof. That Western culture (including religion) was enforced systematically in order to establish lasting presence across the globe. Btw Religion is the first and foremost element that needs to be changed in order to induce new culture in any place. Thats what was done by mughals and all other brothers from other mothers in India.

Btw Bala God save.. awful movie to sit and watch , this guy in the name of reality.. literally takes every character to other extreme. Bala sir you are directing a movie not a reality show !

[NOV]

நண்பர்களே, "பரதேசி" படத்தின் பாடல்களை கேட்டீர்களா? இல்லை என்றால் தயவு செய்து கேட்டகவும். பாடல்கள் அனைத்தும் மிக மிக அருமை. அதுவும் குறிப்பாக "சென்நீர்தானா.....", "செங்காடு..." பாடல்கள் மனதை உருக்கும் வரிகள் மற்றும் இசை.

1900 களின் ஆரம்ப மற்றும் மத்தியில் தமிழகத்தில் நடந்த இந்த வரலாற்று நிகழ்வுகளை (கரு: "எரியும் பனிக்காடு" நாவல் ) அடிப்படையாக கொண்டு எடுக்கப்பட்டது "பரதேசி" படம் (பட முன்னோட்டத்தில் இருந்து அறிந்துகொண்டது). அன்று,சொந்த ஊரை விட்டு வேறு ஊருக்கு பிழைக்க போவது எனபது ஒன்றும் சாதாரண விசயம் அல்ல. இன்று படித்தவர்கள் நாடு விட்டு நாடு போவது போல் அல்ல அதில் உள்ள விசயங்கள். அன்றைய படிக்காத மக்களுக்கு தனது பிறந்த ஊரும், தான் சிறு வயதில் விளையாண்ட தெருவும், காடுகளும், கள்ளி செடிகளும், ஆற்றங்கரைகளும் அவர்களின் எழுதப்படாத சொத்தாக மனதில் தேங்கி நிற்பவை. சிறிதோ பெரிதோ, துன்பமென்றால் எந்த சொந்தம் ஆறுதல் சொன்னாலும் இளகாத மனது இந்த இடங்களில் சென்று இளைப்பாறும் போது வருமே ஒரு தாலாட்டும் உணர்வு.. ஒரு இனம் புரியாத நிம்மதி... அதில் உள்ளது பிறந்த ஊரின் பெருமை.. வளர்ந்த இடத்தின் மகிமை...

1940 களில் வறுமை தொற்றிப்போன கிராமங்களில் வாழ்ந்த வெறுமையை வாழ்க்கையாக கொண்ட பாவப்பட்ட மக்கள், சொந்த மண்ணில் சாவதை விட வேறு மண்ணில் கூலி செய்தேனும் அரை வயிற்று கஞ்சி சேர்த்து தம் மனைவி மக்களை காப்பாற்றலாம் என்கிற நம்பிக்கையில் கண்காணிகளின் கபட பேச்சுகளை நம்பி கூட்டம் கூட்டமாக மலை பகுதுயில் உள்ள தேயிலை தோட்டங்களில் வேலைக்கு சென்றார்கள். பிடுங்கி தம்மையே தின்னும் வறுமை ஒரு புறம்... "ஆண்டை" என்னும் எழுதப்படாத அதிகார மக்களின் அடிமைகலாக வெட்கம், மானம், ரோசம் ஏன்... மனிதத்தையே காலம் காலமாக அடகு வைக்கும் வாழ்க்கை முறை மறுபக்கம்.. பாவம் தோய்ந்த, ஏழைப்பட்ட மனிதன் மனதை மரமாக்கி துணிந்து முடிவெடுக்கிறான் பரதேசம் போவதென்று.. இது அவன் தன்னை, தன் கனவுகளை அழித்து தனது சந்ததி காத்திட அதன் வாழ்க்கை நிலை உயர்ந்திட எடுத்திட்ட ஒரு உன்னத முடிவு... ஆனால் அவர்கள் வாழ்கை அல்லது அவர் சந்ததியின் வாழ்க்கை மேம்பட்டதா? கண்டிப்பாக இல்லை..... அங்கு அவர்கள் அடிமைகளை விட மிக மோசமாக நடதப்பட்டர்கள். சரியான வசதிகள் இல்லை, முறையான மருத்துவம் இல்லை, சுகாதாரம் சுத்தமாக இல்லை தீர்க்கமாக கூறுவதென்றால் விலங்குகளை விட கேவலமாக நடத்தப்பட்டார்கள் நம் இன தமிழ் மக்கள்.. புறப்பட்டவர் "பலர்", சென்றடைந்தவர் "சிலர்", அதில் வாழ்ந்தவர் "மிக சிலர்" மட்டுமே...அந்த பாவப்பட்ட மனிதர்களின் உணர்வுகளை மிக அழகாக சொல்லி இருக்கிறார்கள் அருமையான இசையில் மிக ஆழமான வரிகளுடன்.

இந்த மக்களின் துயர் பட்ட கிராம வாழ்க்கை மற்றும் இடம் பெயர்ந்த பிறகான வாழ்க்கை முறை அவர் பட்ட இன்னல்கள் பற்றி மேலும் அறிந்திட மருத்துவர் டேனியல் இன் "எரியும் பனிக்காடு" நாவல் படிக்கவும். டேனியல் அவர்கள் இந்த பாவப்பட்ட மனிதர்களின் மருத்துவராக பணியாற்றியவர். அவரின் சொந்த கண்ணால் பார்த்த பதிவுகளே இந்த நாவல் .எனக்கு மிகவும் பிடித்த இந்திய நாவல்கல் வரிசையில் என்றும் முதல் இடத்தில இருப்பது இந்த "எறியும் பனிக்காடு" (Red Tea) நாவல். இந்த நாவலை படியுங்கள் பிறகு ஊட்டி, கொடைக்கானல், வால்பாறை சுற்றுலா செல்லுங்கள்... உங்கள் உள்ளத்தில் ஏற்படும் மாற்றத்தை உணருங்கள். இந்த நாவலை படித்து நான்கு வருடங்களுக்கு மேல் ஆகிறது.. ஆனால் அதன் தாக்கம் இன்றும் நெஞ்சை விட்டு அகலவில்லை..

கவிஞர் வைரமுத்து அவர்களுக்கு நன்றிகள் மிக பல. அற்ப்புதமான வரிகள்.. அழ வைக்கும் கருத்துகள்... நன்றி கவிஞரே..இந்த அதீத முயர்ச்சிக்காக இயக்குனர் "பாலா" வுக்கு எனது மனமார்ந்த நன்றிகள். மனதை உருக்கும் இசை வழங்கிய "G. V. Prakashkumar" க்கும் நன்றிகள்.

வாழ்த்துக்களுடன்
செ. தங்கபிரகாஷ்.

[NOV]

பரதேசி
-------------

ஒன்னு பாலா அவர்கள்
என்னை அறைய வேண்டும்
லேசான இதயம் கொண்டு
அவர் படம் பார்க்காதே என்று
இல்ல நான் அவரை
அறைய வேண்டும்
இதயம் கனக்காது
படம் எடுக்க வேண்டி...

பிடித்த காட்சி :
தான் தாழ்வாக
நினைத்தவனே
தாழ்வாக நினைப்பதை
என்னும் கருத்தகன்னி

நல்ல வேலை
காலத்தே சற்று பின்னோக்கி
படம் எடுத்து இருக்கிறார்
என் நிம்மதி அடைந்தேன்.
என் கால நிகழ்வாக இருந்தால்
ஏதாவது ஒரு கதாபாத்திரத்தோடு
நாம் போருந்துவோமே என
பயம் கொண்டு...........

- - பிரகாசு


http://sphotos-a.ak.fbcdn.net/hphotos-ak-snc6/205304_440368882707324_1773528674_n.jpg


:rotfl: :rotfl2: :rotfl:

[uruzalari]

Looks like Ananda Vikatan has given 56/100!!!....... Highest in a long time

[Cinemarasigan]

somebody please post the kumudham and ananda vikatan reviews, TIA..

[Cinemarasigan]

Dir Bala’s Interview about Paradesi (From Kungumam Magazine)

http://kungumam.co.in/kungumam_images/2013/20130311/16.jpg

தி.நகர் ஆபீஸில் காத்திருக்கிறேன்.
கடந்து போகும் பாலாவிடம் சின்னதாக ஒரு புன்னகை. 15 வருஷமா பார்த்த முகம்தான். ‘வாங்க… எப்படி இருக்கீங்க’ என அதிரடித் தழுவல்கள் எதுவும் கிடையாது. ‘‘பேட்டியை ஆரம்பிக்கலாமா’’ என்கிறார் உட்கார்ந்ததும். பாலா அப்படித்தான்! அவரது கதை நாயகர்களைப் போலவே முரட்டுக் கலைஞன். அறிந்தவர்களுக்கு மட்டுமே கலகலப்பும் சிரிப்புமாக இன்னொரு பாலாவைப் புரியும். ஒவ்வொரு முறையும் பாலா படங்களுக்கான தீவிரமும், எதிர்பார்ப்பும் சமகால இயக்குநர்களில் யாருக்கும் இல்லாதது.
‘‘எரியும் பனிக்காடுகள்’ நாவலைத் தழுவியதுதான் ‘பரதேசி’. அந்த நாவலில் எந்த அம்சம் உங்களைக் கவர்ந்தது?’’
‘‘இந்த உலகத்தில ஒரு மிருகம் இன்னொரு மிருகத்தை வேட்டையாடித்தான் உயிர் வாழுது. அதை அடிமையாக்கி கையோட வச்சுக்கிறதில்லை. மனுஷன்தான் இன்னொரு மனுஷனை அடிமையாக்கறான். அடிமை செய்வதுதான் ரொம்பவும் கொடுமை. அந்த வகையில உலகின் கொடூர மிருகம் மனுஷன்தான். இந்த விஷயம்தான் என்னை நாவலுக்குள் இழுத்து உட்கார வச்சது.’’

‘‘எந்த மாதிரியான கதைகள் உங்களைக் கவரும்?’’
‘‘பெரும்பாலும் கதைகளை விட கதாபாத்திரங்களே என்னை அதிகம் கவர்கின்றன. ஒரு திருமண வீட்டில் மணப்பெண், மாப்பிள்ளை, விருந்தாளிகளை விட இசைக்கருவிகளை வாசிப்பவர்களும் மந்திரம் ஓதுபவர்களும்தான் என் கண்ணில் படுகிறார்கள். அதே மாதிரிதான் சாவு வீடுகளில், பிணத்திற்கு முன்பு பொய்யாக அழுது ஒப்பாரி வைக்கும் மனிதர்களே என் கண்ணில் ஆழப் பதிகிறார்கள். எல்லோரும் எல்லோரையும் பார்ப்பதைப் போல நான் யாரையும் பார்ப்பதில்லை.’’

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‘‘உங்கள் படங்கள் பெரும்பாலும் விளிம்பு நிலை மனிதர்களைப் பற்றியதாகவே இருக்கு..?’’
‘‘விளிம்புநிலை மனிதர்கள்னு தனியா யாரும் இல்லை. பிணத்தை எரிக்கிற வெட்டியானுக்கு நாம் எல்லாரும் விளிம்பு நிலை மனிதர்கள்தான். நான்தான் உயர்ந்த சாதி என்று கர்வம் கொள்கிறவர்களும், நான் தாழ்ந்த சாதி என்று தலைகுனியும் அப்பாவிகளும் நான் பார்த்த விளிம்புநிலை மனிதர்கள்தான். இவர்களைப் போலவே தன் மதம்தான் சிறந்தது, தான் வணங்கும் தெய்வம்தான் உயர்ந்தது என குறுகிய மனம் கொண்ட எல்லா மனிதர்களும் விளிம்பு நிலை மனிதர்களே.’’

‘‘ ‘பரதேசி’யை ஒரு முழுமையான படமா எடுத்துட்டோம்னு நினைக்கிறீர்களா?’’
‘‘எந்த ஒரு இயக்குநரும் 100 சதவீதம் முழுமையான படம் எடுக்க முடியாது. அப்படி எடுத்துட்டேன்னு சொல்லிக் கொண்டால், அது பக்குவப்பட்ட இயக்குநரின் வார்த்தைகளாக இருக்க முடியாது. அதைப் பார்வையாளர்களும், விமர்சகர்களும்தான் சொல்ல வேண்டும். உலகில் எந்தக் கொம்பனாக இருந்தாலும், தன் திரைப்படத்தை அதிகபட்ச முழுமை அடைந்துவிட்டதாக மட்டுமேதான் சொல்ல முடியும். ஆனால் ஒன்று, என்னுடைய முந்தைய படங்களை விட, முழுமைக்கு மிக மிக அருகில் அதாவது ஸீமீணீக்ஷீமீst tஷீ ஜீமீக்ஷீயீமீநீtவீஷீஸீ எனும் அளவுக்கு‘பரதேசி’யைக் கொண்டு வந்திருக்கேன்.’’

‘‘வேறொரு தளம். நிறைய ஆர்ட்டிஸ்ட்ஸ். ரொம்ப கஷ்டப்பட்டுட்டீங்களா?’’
‘‘எதுவும் எனக்கு கஷ்டம் இல்லை. கஷ்டம்னு எடுத்துக்கிட்டால் அதிகாலையில் எழுந்து, பல் துலக்கி, குளித்து, சாப்பிட்டு ஜீரணம் ஆகி, அன்றைய வேலைகளை முடித்துத் தூங்குறது கூட கஷ்டம்தான். தூங்கின பிறகு புரண்டு படுக்கிறதுகூட கஷ்டம்தான். கஷ்டப்படாமல் எது கிடைக்கும்? நம்ம பேருக்கு, புகழுக்கு, பணத்திற்கு நம்ம குடும்பத்திற்கு உழைத்துவிட்டு, ‘ரொம்ப கஷ்டப்பட்டேன்’னு சொல்லிக்கிறது நல்லாவா இருக்கு? கடமையையும், செய்ய வேண்டிய உழைப்பையும் கஷ்டம்னு சொன்னால் அவனை விட சோம்பேறி யாரும் கிடையாது.’’

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‘‘பெரிய நடிகர்கள் உங்க படத்தில நடிக்க விரும்புவது ஏன்?’’
‘‘இது நீங்க அவங்ககிட்ட கேட்க வேண்டிய கேள்வி. இருந்தாலும் சொல்றேன். அப்படி நடிக்க வந்தால், சிறந்த நடிகனாக வர வாய்ப்பு இருக்குன்னு சொல்லிக்கிறாங்க. அதுல எனக்கு உடன்பாடு இல்லை. நான் நடிகர்களை பெரிதா நடிக்க வைக்கிறதில்லை. பொதுவா ஒருவனின் நடிப்பில் நான் குறைகளை மட்டுமே பார்ப்பேன். அந்தக் குறைகளை நீக்கிட்டால் அவன் முழுமையான நடிகன்தானே! நான் புதுசா எந்த நடிகருக்கும் எதையும் சொல்லிக் கொடுக்கிறதில்லை. பாதையெல்லாம் போட்டுக் கொடுத்தேன்னு பெருமைப்பட்டுக்கிறதுக்கு எனக்குத் தகுதியே கிடையாது. அவங்களோட குறைகளை நிவர்த்தி பண்றேன். அவங்களை களை எடுக்கிறேன். அதனால் பயிர் தனியாத் தெரியுது. இது பெரிய கம்ப சூத்திரம் இல்லை.’’
‘‘நீங்க ஹீரோக்களை கஷ்டப்படுத்துவீங்கன்னு ஒரு பேச்சு உண்டு. ஆனாலும் உங்ககிட்டேயே வர்றாங்களே..?’’

‘‘அதனால் எனக்குப் பொறுப்பு கூடுது. என்னை நம்பி வருகிற ஹீரோக்களுக்கு கதாபாத்திரத்தை வித்தியாசமா படைக்க வேண்டிய கட்டாயத்திற்கு தள்ளப்படறேன். ‘இதுவரை நீங்க பார்த்த நடிகரை நான் எப்படி காண்பிச்சிருக்கேன் பாரு’ன்னு ரசிகர்களுக்கு மாற்றிக் காட்ட வேண்டியதிருக்கு. அதுக்காக கொஞ்சம் பாடுபட வேண்டியதிருக்கு. அது என்னுடைய கடமை. அதைக் கூட செய்யாட்டி நான் எதுக்கு படைப்பாளி, கிரியேட்டர், டைரக்டர்னு பெருமை பேசணும்?’’
‘‘வேதிகா, தன்ஷிகா எல்லாம் அட்டைப்பூச்சிக்கடியால் வேதனைப்பட்டாங்க போலிருக்கே!

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‘‘ஆமா, கடிச்சது. அதுக்கு என்ன? பெயர் வாங்கறதா இருந்தா எல்லாம் தாங்கித்தான் ஆகணும். அவங்க மட்டும்தான் கஷ்டப்பட்டாங்களா? 1000 ஜூனியர் ஆர்டிஸ்ட், 150 டெக்னீஷியன்ஸ் வேலை பார்த்தாங்களே, அவங்க கணக்கில் வரலையா? ஹீரோ, ஹீரோயின் கஷ்டப்பட்டதை மட்டும் சொல்றீங்க… மத்தவங்க எல்லாம் மனுஷங்க இல்லையா? எனக்கு எல்லாரும் ஒண்ணுதான்.’’
‘‘இந்திப் பட இயக்குநர் அனுராக் காஷ்யப் உலகறிந்தவர். அவரே ‘பரதேசி’யை ரசிக்கிறார். ‘கேன்ஸ்’க்கு அனுப்பலாம் என்கிறார். உலக சினிமா அளவுக்குப் போகணும்னு நீங்க நினைச்ச மாதிரி தோணுது…’’
‘‘உலக சினிமான்னு பேசறதே அபத்தம். இந்த உலகத்தில இல்லையா தமிழ்நாடு? அது என்ன வேற கிரகத்திலா இருக்கு? அந்தக் கேள்வியைத் தூக்கி எறிங்க. விருதுக்கு மட்டும் போகணும்னு யோசனை பண்ணி நான் படம் எடுக்க மாட்டேன். எனக்கு இந்த மக்களுக்கு போய்ச் சேரணும்.

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என் படத்தில் மறைமுகமா கமர்ஷியல் இருக்கும். அந்த கமர்ஷியலை எப்படி புகுத்தியிருக்கேன்னு கூர்ந்து கவனிச்சால்தான் புரியும். ‘பிதாமகன்’ல சிம்ரனுக்கு என்ன வேலை… அவங்களை எப்படி உள்ளே கொண்டு வந்தேன்… அதுதான். அப்படிக் கொண்டு வருவேன். கிட்டத்தட்ட லங்கர் கட்டை உருட்றது மாதிரி. கமர்ஷியல், ஆர்ட் இரண்டையும் கலந்து லங்கர் உருட்டுவதில் நான் திறமைசாலின்னு பெருமைப்பட்டுக்குவேன். அட்லீஸ்ட், இந்த ஒரு விஷயத்தில மட்டுமாவது!’’
‘‘நகைச்சுவையானவர் நீங்க, ஜாலியா பழகுவீங்க. ஆனாலும் வெளியே கடுமையானவர்னு இமேஜ் இருக்கே…’’

‘‘அதுக்குப் பல காரணங்கள். அதிகம் பேசறதில்லை. பொது இடங்களுக்கு நிறைய போறது கிடையாது. யாராவது தன்னை புத்திசாலி என என்னிடம் காட்டிக்கொள்ள அபத்தமான விமர்சனங்களை முன் வைத்தால் வெடிச்சிடுவேன். அவ்வளவுதான். மத்தபடி என் கையில் இருக்கிற இந்த சிகரெட் மாதிரி என்னைப் பத்தி செய்திகளை ஊதித் தள்ளுறது நீங்கதான்!’’

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‘‘வீட்டுல பிரியமான கணவரா இருக்கீங்களா?’’
‘‘சினிமா இல்லாமல் வேறு துறைக்கு போயிருந்தால், அருமையான, பர்ஃபெக்ட்டான, க்ளீன் ஆன கணவனா, தகப்பனா இருந்திருக்க முடியும். சினிமாவில் அது சாத்தியம் இல்லை. அந்த வருத்தம் எப்பவும் இருந்துகிட்டே இருக்கு.’’


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‘‘என்ன ஜி.வி.பிரகாஷுக்கு மாறிட்டீங்க?’’

‘‘எப்ப பார்த்தாலும் இளையராஜா, யுவன்ஷங்கர், விக்ரம், சூர்யா, விஷால், ஆர்யான்னு மாத்தி மாத்தி பயன்படுத்திக்கிட்டே இருக்கீங்களேன்னு மீடியா ஃப்ரண்ட்ஸ் கேட்டாங்க. ஜி.வி.பிரகாஷ், வைரமுத்து சார் இருவரும் இந்தப் படத்தை இரண்டு தூண்களாக நின்று தாங்கி நிறுத்தி தங்கள் கடமையை செய்து முடித்திருக்கிறார்கள். சரி, ஒண்ணே ஒண்ணு வேற மாதிரி செய்து பார்ப்போம்னு வெளியே வந்தேன். வேறு எந்தக் காரணமும் கிடையாது. நீங்க வேற மாதிரியெல்லாம் யோசிச்சு பார்க்க வேண்டாம்!’’

[Dinesh84]

Period film naalae kattayama colour tone ipadi thaan irukanuma? Ennaiki thaan Shankar padam maathiri colourfull ah padam irukkumO..

[Cinemarasigan]

நாம் ரசித்து ருசிக்கும் ஒரு குவளைத் தேநீரில், எவ்வளவு எளிய உயிர்களின் ரத்தம் கலந்திருக்கிறது என்பதை உணர்த்தி அதிரவைக்கிறான் 'பரதேசி’!

1939-ல் நடக்கிறது கதை. சாலூர் கிராமத்தைச் சேர்ந்த ஒட்டுப்பொறுக்கி அதர்வா, தண்டோரா அடிக்கிறவர். அதே ஊரில் வாழும் வேதிகாவோடு காதல். ஊரே பஞ்சத்தால் தவிக்க, அந்த மக்களைத் தேயிலைத் தோட்ட வேலைக்கு அழைக்கிறான் கங்காணி. அவன் பேராசை வார்த்தைகளை நம்பிப் போகிறது ஏழை ஜனம். அங்கம்மாவை ஊரில் விட்டுவிட்டு ஒட்டுப்பொறுக்கியும் போகிறான். அங்கே போன பிறகுதான் அது எவ்வளவு பெரிய நரகக் குழி என்பது தெரிகிறது. அடி, உதை, அட்டைக் கடி, சுளீர் குளிர், பாலியல் தொந்தரவு, உழைப்புச் சுரண்டல், நயவஞ்சகம், கொள்ளை நோய் எனக் கொத்தடிமைகளில் ஒருவனாகக் கிடக்கும் ஒட்டுப்பொறுக்கி, அங்கிருந்து தப்பி ஓட நினைக்கிறான். இடையில் அங்கம்மா அவன் குழந்தையை சாலூரில் பெற்றெடுக்கிறாள். தப்பியோட முனைந்து, கெண்டைக் கால் நரம்பு அறுபட்டு முடங்க, அங்கம்மாவை ஒட்டுப்பொறுக்கி சேர்ந்தானா என்பது வலி நிறைந்த வரலாறு!

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தேயிலைத் தோட்டத்தின் பச்சை இலைகளுக்குப் பின்னால், உறைந்திருக்கும் ஆயிரக்கணக்கான தமிழர்களின் ரத்தத்தை விவரித்த 'ரெட் டீ’ (தமிழில் 'எரியும் பனிக்காடு’) நாவலின் பாதிப்பில், 'பரதேசி’ படைத்திருக்கிறார் பாலா. தமிழ் சினிமா வரலாற்றில் இது மிக உண்மையான மைல்கல் சினிமா. கொத்தடிமைச் சமூகத் தின் சரித்திரத்தை இவ்வளவு எளிமையாக, வலிமையாக முன்வைத்ததற்காக பாலாவுக்கு ஒரு ரெட் சல்யூட்.

கடைசி வரை வெள்ளந்தியும் இயலாமையுமாகத் திரியும் நாயகன், காதலில் உயிர் சுமக்கும் ஒருத்தி, ஓடிப்போன புருஷனை நினைவிலும் இடுப்பில் பிள்ளையையும் சுமக்கும் இன்னொருத்தி, உடலை முதலாளி வெறிநாய்க்கும் உயிரைக் கொள்ளை நோய்க்கும் தருகிற மற்றொரு மனுஷி என மனதை நிறைக்கும் நாயகிகள், கண்ணீரில் கரைக்கும் க்ளைமாக்ஸ்... என பாலா படங்களிலேயே இது முற்றிலும் புதிய அனுபவம்!

சாலூரில் வறுமையில் கிடக்கும் அந்த மக்களின் வாழ்க்கைக்குள் ஒளிந்திருக்கும் கொண்டாட்டங்களும் நகைச்சுவையும் காதலுமாக விரியும் படம், பிழைக்க ஊர் விட்டுப் போகும் வழியில் மயங்கி விழும் ஓர் உயிரிலிருந்து தடதடக்கத் தொடங்குகிறது. தரையிலிருந்து உயர்ந்து அலையும் அந்தக் கை... அதிரவைக்கிறது. அதன் பிறகு தேயிலைத் தோட்டத்தில் நாம் பார்ப்பது... இதுவரை பார்த்திராத துயர உலகம்!

அதர்வாவுக்கு இது லைஃப் டைம் படம். ஒரு கண்ணில் அப்பாவித்தனமும் இன்னொரு கண்ணில் பரிதாபமும் மிதக்க வெகுளி இளைஞனாக அபாரமாக உழைத்திருக்கிறார். 'நியாயமாரேஏஏஏஎய்ய்...’ எனத் தலையை ஆட்டி ஆட்டித் தமுக்கடித்து, வேதிகா காட்டும் காதல் சாடையில் வெட்கப்பட்டு, தேயிலைத் தோட்டத்தின் துயரத்தில் 'அவக்கு அவக்கு’ எனப் பசியில் சாப்பிட்டு, கால் நரம்பு அறுபட்டுக் கதறுவது வரை... அற்புதம் அதர்வா!

துடிப்பும் துறுதுறுப்புமான அழகுக் கருப்பியாக வேதிகா. திருமணப் பந்தியில் அதர்வாவுக்கு மட்டும் பரிமாறப்படாதபோது கண்களில் காட்டும் சிரிப்பும், குடிசைக்குள் அறைந்துவிட்டு கைப் பிடித்து இழுக்கும் ரியாக்ஷனுமே போதும்!


வேதிகாவைவிடக் கனமான பாத்திரம் தன்ஷிகாவுக்கு. அதர்வாவைத் தன் குடிசைக்குள் சேர்க்காமல் விரட்டுகிற முரட்டுத்தனமாகட்டும் அதர்வாவின் அப்பாவித்தனத்தைப் புரிந்துகொண்டு மௌனமாகப் புன்னகைப்பதாகட்டும், 'பொம்பளையப் பத்தித் தப்பாப் பேசாதே’ என்று ஆத்திரப்படுவதாகட்டும், தைரியமும் துயரமும் அலைக்கழிக்கும் பெண்மைக்கு உருவம் கொடுத்திருக்கிறார் தன்ஷிகா!

யாருங்க அந்த ஆத்தா..? அத்தனை அலட்சியமான உடல்மொழி, வசன உச்சரிப்பில் கலங்கடிக்கிறார் அதர்வாவின் பாட்டியாக வரும் கச்சம்மா. ''என் கல்யாணத்தை நானே தமுக்கு அடிக்கிற மாதிரிக் கனவு கண்டேன்' என்று சொல்லும் அதர்வாவிடம், ''ஆமா, நீங்க ரெண்டு பேரும் சேர்ந்து பிச்சை எடுக்கிற மாதிரி நான் கனாக் கண்டேன்' என்று துடுக்குக் காட்டி, பஞ்சாயத்தில் அவசரமாகச் சூடம் அணைத்து, ''அதெல்லாம் சத்தியம் பண்ணியாச்சு, போங்க... போங்க'' என்று விரட்டியடிக்கும்போது ஆச்சர்யப்படுத்துகிறார். புதிதாகத் திருமணமாகிக் கல்யாணக் கனவு கலையாமலே பஞ்சம் பிழைக்க எஸ்டேட் நரகத்துக்குப் புலம்பெயர்ந்து வெள்ளைக்காரனின் காம இச்சைக்குப் பலி யாகும் ரித்விகா, தன் மனைவி மானம் இழப்பதை வேறு வழியில்லாமல் பார்த்துச் சகித்து, இரவு நேரத்தில் அழுது புலம்பும் கார்த்திக், ஜாலி மைனராக டான்ஸ் போட்டு பெர்மனென்ட் மட்டையாகும் விக்ரமாதித்யன் என ஒவ்வொரு பாத்திரமும் நுட்பத்துடன் வார்க்கப்பட்டிருக்கின்றன. ''பிளெஸ் மீ மை லார்ட்...'' எனக் கிழிந்த சட்டையோடு நாயைப் போலக் கெஞ்சுவதும் வன்மத்தில் தொழிலாளர்களிடம் குமுறுவதுமாக கங்காணிக் கயவாளித்தனத்தைக் கண்ணில் நிறுத்திய ஜெர்ரி, நல்ல அறிமுகம்.
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படத்தின் மிகப் பெரிய பலம் நாஞ்சில் நாடனின் வசனங்கள். அதே சமயம் வசனகர்த்தாவின் புத்திசாலித்தனங்களைக் காட்டாமல், ஒரு பாத்திரத்தின் வார்த்தைகளாகவே ஏற்றிவிட்டிருக்கிறார் இயக்குநர். அந்த மக்களின், காலத்தின் இயல்பும் அப்படியே பதிவாகியிருக்கின்றன. ''வேட்டிக்குள்ள இருந்து மந்திரி எட்டிப் பார்க்கிறாரு'' என முதல் பாதியில் குறும்பு கொப்பளிக்கும் வசனங்கள் ''ராசா வண்டியை விட்ருவேன்!'' என ஆங்காங்கே நெகிழவைத்து, ''நீயும் இந்த நரகக் குழியில வந்து விழுந்துட்டியே!'' எனக் கலங்கடிக்கின்றன.

சாலூர் கிராமத்தின் இண்டு இடுக்குகளில் புகுந்து புறப்படும் ஆரம்பக் காட்சி, முதல் மரணம் உறைந்திருக்கும் தேயிலை எஸ்டேட்டின் விஸ்தாரப் பரப்பைச் சுற்றிச் சுழலும் இறுதிக் காட்சி வரை செழியனின் கேமரா, படத்தின் ஆகப் பெரும் பலம். ஜி.வி.பிரகாஷின் இசையில் வைரமுத்துவின் வரிகளில், 'அவத்தப் பையா’ காதல் பொங்கவைத்தால், 'செங்காடே சிறுகரடே போய் வரவா’ பாடலும், 'செந்நீர்தானா’ பாடலும் கண்ணீர் பொங்கவைக்கின்றன. பின்னணி இசையில் இன்னும்கூட மெனக்கெட்டு இருக்கலாம் ஜி.வி!

பாலச்சந்தரின் கலையும் கிஷோரின் எடிட்டிங்கும் படத்தில் உயர் தரம். தாஸின் ஒப்பனை, பூர்ணிமாவின் ஆடை வடிவமைப்பு இரண்டும் பிரமிக்கவைக்கின்றன. கமர்ஷியல் சினிமாவுக் கான சங்கதிகள் இல்லாதபோதும் டாக்குமென்ட்டரி தொனி தவிர்ப்பதில், 'பரதேசி’ குழுவின் உழைப்பு அசரவைத்திருக்கிறது.

படத்தின் திருஷ்டிக் காட்சிகள் மருத்துவராக வந்து மதப் பிரசாரம் செய்யும் 'பரிசுத்தம்’ பாத்திரக் காட்சிகள். மத மாற்றம் பெருமளவு நிகழ்ந்த காலகட்டம்தான் என்றாலும், அதை ஏதோ காமெடிக் குத்தாட்டம் ஆக்கியது... வெரி ஸாரி.

இதுவரை பெரிதாகச் சொல்லப்படாத கொத்தடிமைச் சமூகத்தின் துயரச் சரித்திரத்தை அழுத்தமாகச் சொன்னதற்காக 'பரதேசி’யைக் கொண்டாட வேண்டும்.

'சேது’வில் யதார்த்த சினிமாவுக்கான ஓர் அலையை உருவாக்கிய பாலா, 'பரதேசி’யில் பல படிகள் கடந்து அடுத்தகட்டத் தமிழ் சினிமாவை ஆரம்பிக்கிறார்!

http://cdnw.vikatan.com/av/2013/03/zjuyja/images/p16a.jpg

[SoftSword]

Framing indian Christians as converted for money and bread .. I am not surprised when he gets influenced by people like Jayamohan and Naanjil Nadan .

joe...
he does not show indian christians getting converted for money and bread...
firstly, its only the people who are taken as slaves and when they have no way to resist the disasterous disease, they dance to the tune of the christian doctor... for their cure and welfare they follow what the doctor(whom our people generally consider as god/life saver)says... neither does the movie get into the details if they get converted or the intention behind and all... the doctor looks geninue and shows the his main purpose as getting things better for the people... infact that episode is not more than 10 minutes or so...

logically the christians here should not be having any issue imo... but still i am surprised that none of the groups(which u have already stated as nonexistent) raise their voice against it...

[PARAMASHIVAN]

Thats what was done by mughals and all other brothers from other mothers in India.

Er ??

[SoftSword]

ok paathaach...
not a kind of movie which can say u like it or dislike it...
certainly not balas best shot but right on the target and does really well on reaching its ambition...
perfect casting except for vedhika... potential miscast... karutthakkanni looks more charming...
art direction and the camera works stand shoulder to shoulder with bala...
gvp bgmusic works a bit, it shows that he has tried hard to make every cue get noticed by people becos of which the music is a bit asynchronous with the movies' voice in a few places... but the songs... he has tried really really hard but ended up tieing the heavy visuals with a thread where the need of the hour is a dense rope... only thannaitthanae does the job...
lyrics shine all over... as the songs were composed after the movie was shot, the lines very much talks the story...
adharva's too good... dhanshika is apt...

but the movie is not as much... maybe becos of the unonimous positive comments i did see in the hub and the media i got my expectations very high...
also u cannot complain if anybody does not like the movie, its just that they dont like that kind of a movie...

[Cinemarasigan]

ok paathaach...
not a kind of movie which can say u like it or dislike it...
certainly not balas best shot but right on the target and does really well on reaching its ambition...
perfect casting except for vedhika... potential miscast... karutthakkanni looks more charming...
art direction and the camera works stand shoulder to shoulder with bala...
gvp bgmusic works a bit, it shows that he has tried hard to make every cue get noticed by people becos of which the music is a bit asynchronous with the movies' voice in a few places... but the songs... he has tried really really hard but ended up tieing the heavy visuals with a thread where the need of the hour is a dense rope... only thannaitthanae does the job...
lyrics shine all over... as the songs were composed after the movie was shot, the lines very much talks the story...
adharva's too good... dhanshika is apt...

but the movie is not as much... maybe becos of the unonimous positive comments i did see in the hub and the media i got my expectations very high...

Good review SS,


also u cannot complain if anybody does not like the movie, its just that they dont like that kind of a movie...
:lol: but this is very true.. some of my collegues say that "in Bala's movies theme will be dark and characters will be shown 'ugly"...

[venkkiram]

Good review SS,

:lol: but this is very true.. some of my collegues say that "in Bala's movies theme will be dark and characters will be shown 'ugly"...

I beg to differ. I did not like this movie not because of the darkness. But the incompleteness of direction, screenplay, music done.. totally half backed attempt with cliches.

[Cinemarasigan]

I beg to differ. I did not like this movie not because of the darkness. But the incompleteness of direction, screenplay, music done.. totally half backed attempt with cliches.

Let me also watch the movie and respond to you.. and the above mentioned comment is not just for Paradesi, in general they don't prefer to watch Bala's movies because of these reasons.

[venkkiram]

logically the christians here should not be having any issue imo...

-1. ....

[NOV]

I did not like this movie not because of the darkness. I think we all know why you didnt like the movie :lol:

[NOV]

An excellent analysis of the film....

By Siva L


ABOUT PARADESI

First and foremost, one has to definitely appreciate Bala for his efforts to bring out the voices of the people whose voices are not heard.There is no reason why he has to do that but he always goes on to do that. Sethu is about a mentally ill man, nandha is about a juvenile, naan kadavul is about beggars, pithamagan is about an undertaker. These are the people in the bottom of the society. We all stand on top of them, exploiting them and treat them as untouchables. But Bala is determined to make their voices heard. Of-course,that makes his films are raw and look dirty. What do you expect a film about beggars to look like?

So, this film also talks about the people who are in the bottom of Indian society during British rule. The film is set in a village in Tamilnadu.The village is in famine and there is so much poverty that people see rice only during festivals and marriages. This is a village of lower caste people and in which lives a guy who is considered to be fit for nothing. We are told about the story his life. He is bullied by everyone in the village and is truly the rock bottom of the civilization. He goes out of village for work but is beaten up for being a lower caste. But determined to save his love, he enrolls himself along with a many others, as a slave labor to a plantation recruiter.

The film's intention is not to shovel a list of statistics (like what i have given above) or paint us with truth. But it intention is just to make us feel what it means to be oppressed and what it means to feel true helpless in this wonderful infinite universe. Being truly helpless is something most of us have not seen in life. So, film basically moved takes us towards that. As the story progresses, the doors closed one by one for this man. First he realizes that he is cheated. He has to work harder than expected. But he tolerates that ,so that he can save money and leave as soon as his contract his over. After 2 years of working his ass out, he is informed that his contract is far from over. He is left with disappointment. So, he decides to escape but only to be caught by the guards who break his leg permanently. After a few years, he looses his relatives and friend to a Malaria(?). But he always has one hope left in life which is the hope that he can leave to his village one day and see his son and wife. But finally when he sees that his wife walking into the plantation with his son as a laborer, his last string is pulled and the film ends in true hopelessness.

About its Criticisms

Why so much of hopelessness? A lot of people are comparing this film to Schindler's List and Pianist. They say Schindler's List ends with a hope. There are two problems with this comparison. First, even though ,holocaust is an extreme tragedy, it is over now and Jews in the modern world are mostly doing good. After the war, Israel is formed and a lot of Nazis were punished in Nuremberg trials. But the agony of the oppressed worker class people of the world is far from over. It happens today for workers in Arab countries. It happens today in china in the hardware manufacturing units. So, it will be an injustice to all these people to end the film hopefully. Replace tea with smart-phones and tea plantation workers to Chinese workers, one can realize that it is still a hopeless situation. Second, this film is attempt to make us realize that. So, it cannot end with hope which is defeating the purpose.

Are we so dark after all? A lot of people have appreciated this film. But there are a good number of negative criticism also. I am not saying the film is beyond criticism. I myself have a few criticisms and it is very important that we should be talking about this film. However, i did read a few reviews which complained about the quality of cinematography, quality of village sets etc. Of all criticisms one can make about this film, there are people complaining about its editing and script nuances? This is like complaining about the someone's teeth while they are screaming in pain. This simply shows how dark people can be.


My Criticism

First, let me acknowledge that this is awesome film. But it is very very dark and i don't think i can watch it again. It does not mean that film is bad. It simply means that I am not matured enough to process the emotions it invokes. I sincerely hope one day i will be well balanced to watch this film and talk about it even more rationally.

However, i do think that there are a few weak points in the film. First, the deliberate atheist message. Bala is an serious atheist and In this film also, he makes a few subtle criticisms on religion. There are three people who share the exploits of the workders a hindu sadhu , a christian compounder and a muslim stock keeper. I can see how Bala wants to stress the exploiting nature of all religious organizations. But what i think is that religion is one thing that still gives hope to a lot of people. Of-course, we see that for a moment in the christian song where, in the end people scream their hearts out and we all can feel how elated they are. But i think the stress is not enough.

Second is the black and white description of British in the film. They are simply shown as irresponsible exploiting drunkards. However, it is still not a big problem considering that at the end of day they exploited the workers. But still i think we need to give due credit to a few kind hearted Europeans who have helped us through out.

But, i want to stress that the above points does not make the film any less valid. I am going to assume that they are just there to make things simpler for the story especially, the depiction of British.Otherwise it would have made the film a far more complex to comprehend.

Final Note

Obviously, Bala has made this film as a response to Eelam situation. And in the context of it ,the film makes perfect sense. The film takes us to the basics and stresses on the importance of lives of ordinary people. The Srilankan plantation workers were first exploited by British, then by Sinhalese, then by LTTE and finally they are either suffering isolation (in case of central plantation workers) or oppression(in case of northern workers). But as of now, it does look like a truly hopeless situation.


Read here for the background to the film: http://randompillow.blogspot.in/2013/03/paradesi2013.html

[Anban]

so Tamils moved over to Srilanka as plantation workers??

who is this half baked blogger ???

[joe]

but still i am surprised that none of the groups(which u have already stated as nonexistent) raise their voice against it...
Glad that they have better things to do

[joe]

so Tamil moved over to Srilanka as plantation workers??
ofcourse , இலங்கையின் வடக்கில் வாழும் பூர்வீக தமிழர்களைப் போலன்றி கிழக்கில் மலையகத்தில் வாழ்பவர்கள் சென்ற நூற்றாண்டில் இந்தியாவிலிருந்து கொண்டு செல்லப்பட்டவர்கள் தானே?

[Avadi to America]

so Tamil moved over to Srilanka as plantation workers??

who is this half baked blogger ???

it's true... Roshan or paramu can give better explanation.

[NOV]

so Tamils moved over to Srilanka as plantation workers??

who is this half baked blogger ???stop calling people names when the ignorant one is you :evil:

[Anban]

ofcourse , இலங்கையின் வடக்கில் வாழும் பூர்வீக தமிழர்களைப் போலன்றி கிழக்கில் மலையகத்தில் வாழ்பவர்கள் சென்ற நூற்றாண்டில் இந்தியாவிலிருந்து கொண்டு செல்லப்பட்டவர்கள் தானே?
appidi clear-a antha blog-la podalaye.. ok ..

[Anban]

stop calling people names when the ignorant one is you :evil:
sentence construction mistake aayiduchu.. I meant, that natives are more in number in SL ..

comparing the migration/exploiation in paradesi to that of plantation workers' in Srilanka is not correct, IMHO ..
commercial exploitation is much different from racial exploitation ..

[PARAMASHIVAN]

so Tamils moved over to Srilanka as plantation workers??



:shock: :shock:

Thamizhar lived there from Cheran / Cholan and Pandiyan times! Chola dynasty ruled From SL to Java/Sumatra( Indonesia) , Thailand, Cambodia .. etc. Only in SL Tamil culture remained, Buddhism(later Islam) spread to the far east over taking Hinduism, that why you still see Ruins of Dravidian Culture in these countries..

Regarding the Tamil export by Anglo Saxons, mainly migrated to Central SL (Kandy), Mutthaiya Muralidaran is a prime example. The ancient inhabitants of lanka were Dravidic thamizhar! One has to remember SL was Part of India (TN) once! Due Natural calamity like Tsunami, earth quakes, SL was separated from Indian main land.

Hinduism and dravida culture started to decrease in SL ..thanks to the Criminals (Kalinga & Co) migration from Orisa and West Bengal! Along with them Buddhism was brought to Lanka

[Anban]

:shock: :shock:

Thamizhar lived there from Cheran / Cholan and Pandiyan times! Chola dynasty ruled From SL to Java/Sumatra( Indonesia) , Thailand, Cambodia .. etc. Only in SL Tamil culture remained, Buddhism(later Islam) spread to the far east over taking Hinduism, that why you still see Ruins of Dravidian Culture in these countries..

Regarding the Tamil export by Anglo Saxons, mainly migrated to Central SL (Kandy), Mutthaiya Muralidaran is a prime example. The ancient inhabitants of lanka were Dravidic thamizhar! One has to remember SL was Part of India (TN) once! Due Natural calamity like Tsunami, earth quakes, SL was separated from Indian main land.
itha, itha thaan naanum solla vanthen..

[PARAMASHIVAN]

Ok Anban :)

[stULana]

One thing, i don't think bala is a pro hindu guy. He made all possible wits against Hindu Gods in Naan Kadavul. Good that he has the guts to touch other religions too!

Yes, Bala did say he is an atheist. But, good thing is that until now (atleast!), he has not been too "provocative" or "offending" others who believe in God, nor does sugar-coat issues, as some do. Even for that explicit thittu in Naan Kadavul, he provided a strong situation for the outburst by an old helpless man, and executed it convincingly..striking a decent balance. Many would actually empathize with the character.
Not many would know he is an atheist. Naan Kadavul starts with a Hindi bhajan (Maa Ganga), hero intro song is a Sanskrit devotional and the movie ends with the same Sanskrit devotional song (Om Shivoham). Once again, Bala is the first director to do so in the world :bow: when others would not even think on those lines. He seems to be striking a very good balance..being respectful to others and making his point. And that is good to him and all of us Tamilians/Indians ;)

[LihDacRurdy]

:-DBala a pro hindu guy _:-D

[stULana]

haha!! illa....hero saves the victim..Aham Brahmaasmi ;) :yessir:

[lord_labakudoss]

Yes, Bala did say he is an atheist. But, good thing is that until now (atleast!), he has not been too "provocative" or "offending" others who believe in God, nor does sugar-coat issues, as some do. Even for that explicit thittu in Naan Kadavul, he provided a strong situation for the outburst by an old helpless man, and executed it convincingly..striking a decent balance. Many would actually empathize with the character.
Not many would know he is an atheist. Naan Kadavul starts with a Hindi bhajan (Maa Ganga), hero intro song is a Sanskrit devotional and the movie ends with the same Sanskrit devotional song (Om Shivoham). Once again, Bala is the first director to do so in the world :bow: when others would not even think on those lines. He seems to be striking a very good balance..being respectful to others and making his point. And that is good to him and all of us Tamilians/Indians ;)
I read that in Naan Kadavul, the heroine seeks adaikalam with a nun but gets betrayed and turned over to the bad guys - Later, this was cut from the theatrical release...
-LL

[NOV]

« Ce n’est pas ma tasse de thé « est une expression employée à tort et à travers mais imagine t-on, lorsqu’on se délecte de ce breuvage délicat, que tant d’hommes et de femmes aient autant souffert, au 20ème siècle dans les plantations de l’Inde du Sud, pour satisfaire nos papilles ?

Paradesi est un film incomparable et déroutant qui se déroule en deux parties.
La première partie est remplie de cris joyeux et de rires. La deuxième n’est que cris de souffrance et larmes.

Le réalisateur, Bala, excelle dans les contrastes au niveau des paysages (les régions désertiques contrastant avec les plantations luxuriantes de thé ). La photographie du film est très belle. Il nous décrit également de façon convaincante l’évolution des personnages. Le film a pour interprètes principaux Aadharva MURALI et Dhansika… Tous les acteurs sont très émouvants et expriment leur sentiments avec un style très radical. Un jeu réaliste mais qui peut nous paraître excessif par moments.

De même, on note un contraste dans le ton du film. On est surpris par la légèreté de certains chants -dont la traduction a suscité des rires dans la salle – puis par la gravité de certaines scènes d’une injustice insoutenable !
La séance d’évangélisation par les colons britanniques auprès des cueilleurs de thé nous laisse pantois car totalement imprévisible.

Rien à voir avec un Bollywood et son « happy end » traditionnel.

Demain matin, lorsque je boirai mon thé, je risque d’être hantée par la vision de ces centaines de mains écorchées qui ont cueilli les odorantes petites feuilles.
Il faut aller voir ce film émouvant, doté du charme désuet d’un film classique. Paradesi est intéressant parce qu’il retrace la mémoire de ces travailleurs maltraités au destin tragique et parce qu’il nous montre les dérives de la société indienne.

[NOV]

http://www.youtube.com/watch?feature=player_embedded&v=tpG1KD1fJFc


Vandana Srinivasan (singer) - Thank you for the lovely response to Avatha Paiya with Yazin Nizar. Doing a folk number for the first time and Bala Sir was incredibly patient in the studio as he explained the dialect and coached me on my diction. BIG thank you to Director Bala & Gv Prakash for the opportunity and the entire team for doing such an amazing job.

[NOV]

http://sphotos-b.ak.fbcdn.net/hphotos-ak-snc7/301514_10151154028392168_627275696_n.jpg

[arulraj]

Super.......

[Dilbert]

http://sphotos-b.ak.fbcdn.net/hphotos-ak-snc7/301514_10151154028392168_627275696_n.jpg


Indians never worked for landlords before English-piece mens arrived in India? And Hard work = only slavery?? one thing I learnt after traveling to several countries we Indians crib " AAAAA LOT FOR NOTHING". Conditions were hard ,rather harder in parts of western world when they were developing. They strived for greatness many succeeded. On the other hand we postponed development and nation building in the name of freedom and fundamental rites.
Which even today (after 60 years) of Independence couldn't provide to an ordinary citizen.

So lets stop cribbing. And start working.

[NOV]

The only one cribbing here is you... at all posts.
Lighten up dude.

[NOV]

http://www.youtube.com/watch?v=8CFQdaoo2vw&feature=youtu.be

[Dilbert]

The only one cribbing here is you... at all posts.
Lighten up dude.

Yes Yes.. following Nov-ism.. these days... :lol:

[venkkiram]

Interview with National Award winner for Best Costume Design, Poornima Ramaswamy for Bala's Paradesi. From 7:30 min, she mentions about Bala being "one of the most patient people", respect for his artistes, especially women, "extremely considerate, very good listener". In part 2, she mentions about NA expectations for other artistes.

http://www.youtube.com/watch?v=V4nLQlTPLTQ&list=PLV_aspERmuCK6juJYdKExGgFvhKosYWF6

தேசிய விருது பெற்ற பூர்ணிமாவுக்கு ஒரு கேள்வி! உடைகளுக்காக நிறைய நேரங்கள் நூலகங்களில் செலவழித்திருக்கிறீர்கள். ஆவணப் புகைப்படங்களை எல்லாம் அலசியிருக்கிங்க. 1930 களில் பஞ்சகட்சம்(பஞ்சகட்ச சாயலில் கீழுடை) கட்டும் பழக்கம் எந்த குக்கிராம மக்களுக்கு இருந்தது? சாலுரில் மற்ற எல்லோரும் வேஷ்டி கட்டிருக்க, ராசா மட்டும் பஞ்சகட்சம்.

[NOV]

Anurag Kashyap talks about Bala's Pardesi

http://www.youtube.com/watch?v=h9r7acdavAc

[Dilbert]

http://www.youtube.com/watch?v=Ti_u-0P-7Lw

[Anban]

stop calling people names when the ignorant one is you :evil:
http://randompillow.blogspot.in/2013/03/paradesi2013.html

actually, the blogger changed his content after I raised that point :yes:
so, yaaru ignorant-aa irunthaaanga??

[SoftSword]

anurag kashyap :notworthy:

not for just he supports this movie... for his intent and commitment to get tn and the talents here known to the entire country and the world...
nibandhanai illaa aadharavu for all his movies...

[NOV]

so, yaaru ignorant-aa irunthaaanga??the gentlemen who said this...


so Tamils moved over to Srilanka as plantation workers??

[vikatan]

anurag kashyap :notworthy:

not for just he supports this movie... for his intent and commitment to get tn and the talents here known to the entire country and the world...
nibandhanai illaa aadharavu for all his movies...


Anurag kashyap's Gangs of Wasseypur is perhaps one of the best movies to come out in recent times... This man is also a powerhouse of talent.
As i mentioned earlier in the 'vishwaroopam' thread, I hope this man teams up with Kamal Haasan...Now that will be an explosive combination.

[venkkiram]

Anurag kashyap's Gangs of Wasseypur is perhaps one of the best movies to come out in recent times... This man is also a powerhouse of talent.
As i mentioned earlier in the 'vishwaroopam' thread, I hope this man teams up with Kamal Haasan...Now that will be an explosive combination.

Gangs of Wasseypur இயக்கியவர் பரதேசியை அதீதமாக புகழ்கிறார் என்பது நினைத்தே பார்க்க முடியாத முரணாக தென்படுகிறது.

By the way, post Vishwaroopam, Kamal Haasan does not need any directors for his movies going forward.

[Avadi to America]

Gangs of Wasseypur இயக்கியவர் பரதேசியை அதீதமாக புகழ்கிறார் என்பது நினைத்தே பார்க்க முடியாத முரணாக தென்படுகிறது.

By the way, post Vishwaroopam, Kamal Haasan does not need any directors for his movies going forward.

he mentioned Bala's name in in title card of Gangs of Wasseypur....

i don't see anything wrong in vikatan's comment....kamal is still mainly an actor who directs movies when he has time and apt story…When he decides to restrict his roles, at least on paper/poster, as an actor, he could very much consider anyone whom he thinks capable to direct him. I know people in the hub thrash the move Indian (it’s weird) and Shankar….I still believe that the old character is mind blowing. It’s very much true that he associated with right director at right time.

[Arvind Srinivasan]

Gangs of Wasseypur இயக்கியவர் பரதேசியை அதீதமாக புகழ்கிறார் என்பது நினைத்தே பார்க்க முடியாத முரணாக தென்படுகிறது.

By the way, post Vishwaroopam, Kamal Haasan does not need any directors for his movies going forward.

I hope kamal works with the likes of an Anurag Kashyap....It would definitely be a treat to watch....

[Arvind Srinivasan]

Will be watching the movie on Monday....Loved the guys's Naan Kadavul....

[venkkiram]

'சேது’வில் யதார்த்த சினிமாவுக்கான ஓர் அலையை உருவாக்கிய பாலா, 'பரதேசி’யில் பல படிகள் கடந்து அடுத்தகட்டத் தமிழ் சினிமாவை ஆரம்பிக்கிறார்! - விகடன்...

பார்றா! :rotfl:

[NOV]

:rotfl: @ Venki's attempts.
Try harder. :lol2:

[stULana]

'சேது’வில் யதார்த்த சினிமாவுக்கான ஓர் அலையை உருவாக்கிய பாலா, 'பரதேசி’யில் பல படிகள் கடந்து அடுத்தகட்டத் தமிழ் சினிமாவை ஆரம்பிக்கிறார்! - விகடன்...

Very true. I remember reading at that time that Bala had to include the 2 kuthu songs as no distributor came forward otherwise (also, no separate comedy track). The 2 kuthu songs get over within the first 15-20mins (IIRC). :shock:That was like a slap on the distributor' face..:evil: he gave them what they wanted..but instead of a semi-clad young woman, he gave chance to a fully-clad elderly Jyothilaxmi (?) (I don't remember seeing her fully-clad in her prime!). Heroine clad in half-saree. Another case of portraying women neatly on screen. :clap:

Entire 2nd half of Sethu was depressive (probably, the only movie to do so after the 1950s-60s) and the mental asylum shots were first of its kind in Tamil/Indian movies, which were realistic, which is why TN loved the movie and made it the biggest hit of that year! 2nd half had no dream songs or comedy track, and had 2 sad songs :cry2:. I don't recollect the hero even touching the heroine. All this, a feat no Director had achieved at that time was achieved by the debutant Director Bala in Sethu :bow:

I am truly impressed by his uncompromising attitude (resisting business pressures) and respect for his viewers from his first movie till now. :bow:

[HonestRaj]

isaifan :clap:

first thing i liked from Sethu is the trailer & that short song - "nenachu nenachu thavichu thavichu"..

& when i saw the film... the title "grand music of Ilaiyaraaja" ... mei silirppu :bow:

sethu was released in some dappa theater & it was taken out in couple of weeks.. again it was re-released & ran for months

[ubetixapf]

good attempt...

[ubetixapf]

அறிவிலும் அறிவியலிலும் அநீதிக்கு எதிரான போராட்டங்களிலும் போர் உத்திகளிலும் சிறந்து விளங்கிய தமிழனின் வழக்கை மது , சினிமா மற்றும் பல கேளிக்கைகளால் திட்டமிட்டு மழுங்கடிக்கபடுகின்றன. தமிழினமே திட்டமிட்டு அழிக்கபடுகிறது. உலக அரசியல் படியுங்கள். மாபெரும் கடல் போக்குவரத்து நிறைந்த தமிழ்நாடு சந்தையாக உலக வல்லரசுகளுக்கு தேவைபடுகிறது. விழித்துகொல்லுங்கள் சொந்தங்களே!!!

[San_K]

:rotfl: @ Venki's attempts.
Try harder. :lol2:

+1

Overathaan porappula

Anurag opened said Bala (bala vagaiyara like Sasikumar's subramaniyapuram) is his manaseega guru and inspiration for his movies. Aana venkiramukku GOW gopuramam Bala movies kuppaiyaamm

[joe]

his manaseega guri
:rotfl:

[stULana]

HonestRaj,
Yes, that bit song "nenachu nenachu thavichu thavichu" is my favourite too. That followed by the scenes leading to the interval was :musicsmile: and :shock: and :omg: for viewers.
Waiting for another such bit song..preferably from IR ;)

[NOV]

It has just been a week Bala's Paradesi hit screens and it has already proved to be a big hit. All the fans who watched the film have praised the film and are speechless on seeing the movie. They are thankful to the director for bringing such a good movie to the theatre. It proves that director Bala's hard work has paid off.

Paradesi is doing abroad well as well with English subtitles. It is running successfully in UK, France, Norway, Canada, Denmark, Dubai, Malasiya, USA, Singapore,Sri Lanka and rest of the world.

The film is being screened in UK in Ilford, Wandsworth, Feltham, Vue Harrow, Vue Croyodon Grant's (Near Croydon Counsil and Croydon Central Library), Vue Birmingham and Vue Halifax

The film is being screened in France with French subtitles.

1.Mega CGR Evry

Dimanche 24 Mars 19h: 30

2.Mega CGR epinay sur seine


http://timesofindia.indiatimes.com/entertainment/regional/tamil/news-interviews/Paradesi-show-timings-abroad/articleshow/19165277.cms

[NOV]

The music of Paradesi was composed in a very interesting manner, composer G.V.Prakash said. It seems Bala had shot the visuals first and Prakash then composed his tunes based on the visuals. He had followed a similar routine for one of Aayirathil Oruvan’s songs too, filmed by director Selvaraghavan.

G.V has used live instruments extensively for Paradesi, thanks to the period setting and hasn’t depended on electronic music.

[Cinemarasigan]

விழித்துகொல்லுங்கள் சொந்தங்களே!!!

யாரை கொல்ல சொல்றீங்க? :lol:

[SoftSword]

india'la hit'ah?
in the theatre we watched in cardiff there were hardly 15 ppl(we were 5)... nothing surprising though, the turnaround was only 8 when i watched mangattha...

[mappi]

Paradesi
Written for Screen, Directed & Produced by : Bala
Story : Nanjilnadan (Events adapted from Red Tea by Paul Harris Daniel)
Music : G. V. Prakash Kumar
Cinematography : Chezhiyan
Editing : Kishore
Banner : B Studios

Starring : Adharvaa, Vedhicka, Dhansika

India 1939 : Rasa is a young man in a remote village, whose self taken up profession is to announce the happening events of the village to the villagers. In return he takes any offering be it grains or coffee etc. Plus he does petty hand works for the villagers without any hesitation. He is naif as he was raised by his hunch-backed granny as his parents died when he was quite young. In the same village, Angamma, a teenage girl, takes advantage on his innosense and plays some hard games on him, which eventually blossums into love leading to intimacy. Famine slowly engulfs the village pushing Rasa to turn to neighbouring villages to look for jobs. Rasa does not eventually mind the illtreatement due to the caste, but accepts to do any job that fetches him food. At one occassion, in between his illtreatement, he comes across a kangani (a foreman who recurits migrants under Kangani Employment system (work on contract) to work in plantations like rubber & tea estates across India and foreign nations like Sri Lanka and Burma). The kangani with his sweet words convinces Rasa with his generosity by offering him and his fellow villagers a bright future with a dream job at a tea plantation. With not much choice during the famine and the greediness covering thier eyes, the villagers embark with the kangani as tea plantation contract-workers.

The British have introduced tea plantations in the mountanous regions of India. Workers include tree cutters, tea planters, tea leaf pluckers, removing of dry tea bushes - working in untolerable conditions - under cold, diseased, insects, leeches, mosquitoes + they all have heavy objectives like plucking "n" number of bags per day failing which severe punishment were given. Rasa and the villagers discover hell on earth. But Rasa keeps on moving forward keeping hope that by the end of the contract he will return to his village with enough money. Little does he know that the contract is made in such a way that no one leaves the plantation, until they are very sick by oldness or disease. What follows is the depiction of the difficulties faced by plantation workers, their desperation, agony and hopelessness, which ends with a helpless note when Rasa accepts his defeat and puts down his hope completely.

Bala, this time, is quite straight forward eventhough he intacts and sprinkles his humour whenever possible. The opening scene where we are shown the village is the grain to prove the class of screenwriting [just like how Sasikumar opened his Eesan, but here Bala was more subjective). A spl mention to the closing too, wonderful view on the plantation puts you in the thought of "how many Rasas" are in there. Moreover its the characters that gives life to the naration. A cast perfectly chosen just as the tea leaves, Paradesi moves swiftly hammering you with a hard hitting realities on exploitation (in the name of contract). Eventhough the British have put a system for employement, how its been exploited has been pictured carefully. What makes it more engaging and memorable is that there is no heroism. Usually a story during the Britich occupation, such as this, will end with an uprising. But Paradesi ends with the hopeless note, which squezes your hearts. Another note worthy work is the blend between fiction and reality. Eventhough there is nothing new in story telling, the inclination brought between the imaginary characters and true events in the script is praise worthy. This is where the film stands out and may set a trend in realism in film making.

Atharva excels in his role. His "nayam mare" cry towards the end will echo in your ears for a while. The other actors have done a neat job. No words on the costumes - her award says it all. Hope many more get recognised with this film. But still the Britishers were a bit stereo typed. But Bala had beautifully masked it, that you dont feel anything about them but only the evil through the eyes of Kangani and the agony thru the plantation workers. Spl mention to the sets and cinematography. (Got to watch it couple of more times to pick up interesting tit bits that have been captured)

Even though the movie was apt, there could have been much more depth on the tragic events. For eg: Atharva's punishment, eventhough pictured wisely, falls short and we do not get the impact in the few shots that follows after his recovery. Same towards the end, thanks to Atharva's weeping, else Vedhikas confused state would have gone for a toss. I felt it could have been tuned more promptly. Apart from few things here and there which could have quenched the thrist of a Fan like me, the movie is almost perfect.

Music : GVP has tried hard but even his fans could not deny 1000 in one and Adukalam bgms inching-in during most of the score. Thanks to the Cinematography & performence, the music becomes irrelevant. But for an upcomming music director like GVP, a job well done - be it the choice of instrument or sound, they were quite apt. But if he had pushed himself harder, the music would have been picture perfect.

Paradesi : Respect

[SoftSword]

Even though the movie was apt, there could have been much more depth on the tragic events. For eg: Atharva's punishment, eventhough pictured wisely, falls short and we do not get the impact in the few shots that follows after his recovery. Same towards the end, thanks to Atharva's weeping, else Vedhikas confused state would have gone for a toss. I felt it could have been tuned more promptly. Apart from few things here and there which could have quenched the thrist of a Fan like me, the movie is almost perfect.



lol, the reviewer wants it to be more tragic and the pains more detailed...
i thot bala did hit the right balance in not going overboard..

[mappi]

lol, the reviewer wants it to be more tragic and the pains more detailed...
i thot bala did hit the right balance in not going overboard..

No your are mistaken. I am not talking about gore here. "Events that follows after his recovery" - For eg: Recollect the imapct that was evoked when head-shaved Vikram was shown for the first time in Sethu.

There are some crucial points in the films which acts like indicators. Those are the scenes that rest with you for a while or forever. The aftermath of punishment is one such thing, which for me, fell flat.

[SoftSword]

oh mappi... adhu unga sondha review'vaa??
anyway....the fear was sown in the viewers mind when the so called doctor pulls out the cutting player to do the job... at this point of time i was really scared... not for what they are gonna do to him, but for what bala is gonna show to his audience in this U certified movie where a few families have come with kids... i think he rightly toned it down as advised by the censor maybe... even after that episode when the camera was focussing on his legs, i was relieved that they did not show it as bad...

sethu's case was different... mottai aditthal is not on the same pedastal with 'this'... maybe u mean that big cut in sethu's thigh... ya that was a bit more gruesome... but sethu, the movie in the first half had most of the happy and entertaining elements and it needed such impactful scenes to get the viewer to feel for it... but here, the movie is all about feeling bad for them and he just cannot keep pushing the envelope imo...

[mappi]

oh mappi... adhu unga sondha review'vaa??

I always write my (re)views here.


anyway....the fear was sown in the viewers mind when the so called doctor pulls out the cutting player to do the job... at this point of time i was really scared... not for what they are gonna do to him, but for what bala is gonna show to his audience in this U certified movie where a few families have come with kids...

LoL


i think he rightly toned it down as advised by the censor maybe... even after that episode when the camera was focussing on his legs, i was relieved that they did not show it as bad...
About the toning part I agree with you, he had taken it up too slowly. But still - another exemple - the Pitha magan "Koni Mottai" electrifying effect was missing. Thats few of the points that I wish to look in a Bala's film. On screen - no blood ; no screaming ; no gore ; no knife ... nothing ... but Bala is one of the few director who can bring chilness on screen without any of the above mentioned scare-provoking-tools.


sethu's case was different... mottai aditthal is not on the same pedastal with 'this'... maybe u mean that big cut in sethu's thigh... ya that was a bit more gruesome... but sethu, the movie in the first half had most of the happy and entertaining elements and it needed such impactful scenes to get the viewer to feel for it... but here, the movie is all about feeling bad for them and he just cannot keep pushing the envelope imo...

Thats exactly what i had in mind. Still, For Paradesi, atleast jump shots of Rasa Running and working along with his limping shots could have garnished the impact and incresed the sympathy even more.

And dont mistake me, I am just wishing to push the materpiece a bit further. As said in the review, the movie is perfect, but you see as a fan we always want more.

[mexicomeat]

Workers include tree cutters, tea planters, tea leaf pluckers, removing of dry tea bushes - working in untolerable conditions - under cold, diseased, incests, leeches, mosquitoes + they all have heavy objectives like plucking "n" number of bags per day failing which severe punishment were given.
:eek::eek:

btw, i saw a paradesi review on youtube recently where the reviewers said that in the movie avan-ivan bala shot some scenes showing homosexual relationship between highness and vishal but decided to remove it for some reason. is this true? i haven't heard this before.

[mappi]

:eek::eek:

btw, i saw a paradesi review on youtube recently where the reviewers said that in the movie avan-ivan bala shot some scenes showing homosexual relationship between highness and vishal but decided to remove it for some reason. is this true? i haven't heard this before.

Oh my God ... corrected (Thanks)

I heard a similar scene removed from Pitha Magan (when Vikram is in jail), I beleived it as you could see a glimpse of exitement in Vikram when he rides on the mottai's back towards the end of the jail fight.

... but never heard anything about avan-ivan.

[SoftSword]

Thats exactly what i had in mind. Still, For Paradesi, atleast jump shots of Rasa Running and working along with his limping shots could have garnished the impact and incresed the sympathy even more.



agree...
the limping shots were a bit diluted...

and :thumbsup: for writing a complete review which i initially thot was a copy-paste work from some blogpost... :pardon:
otherwise, most of the points u highlighted, i concur with your view...
btw, did u also get the deja-vu of sethu trying to escape thru the hills and the trees when our hero(?) does an escape attempt here..?

[mappi]

btw, did u also get the deja-vu of sethu trying to escape thru the hills and the trees when our hero(?) does an escape attempt here..?

No. The scene was so dense that for a while I was glued and guessing what Bala was going to unleash in the next few scenes.

[Cinefan]

maapi,
India vandheengala :)

[mappi]

maapi, India vandheengala :)

Cinefan, please check your PM

[venkkiram]

இக்கட்டுரையின் தலைப்பை இங்கு பதிய கூச்சமா இருக்கு. ஆனாலும் கட்டுரை வாசிக்கப்பட வேண்டியது.

http://charuonline.com/blog/?p=271

IMO.. ஒரு படைப்பாக பரதேசியை நிராகரிக்கிறேன். என் பதிவுகளால் தொடர்ந்து இங்கு எழும்பும் அதிருப்தி அலைகளுக்கு மத்தியில்.

[SoftSword]

venki, as u have quoted this link here, i would like to know if u really endorse the points(atleast 50%) shared in that article??
or did u atleast read it? i wanted to read it with a open mind without any bias, but what stood out was the authors hatred abt the movie and not much of rational criticisms... infact i only read thru 80% of the article and felt it is a waste of time reading the rest...

i maybe wrong... i would see if anyone else reads the article and share the thoughts the author has putforth...

[venkkiram]

or did u atleast read it? Wonder why such question though I mentioned "ஆனாலும் கட்டுரை வாசிக்கப்பட வேண்டியது."

[venkkiram]

Charu's review is more a provocation. you are completely wrong here. The article says clearly on top "ரெட் டீ நாவலைத் தமிழில் எரியும் பனிக்காடு என்ற தலைப்பில் மொழிபெயர்த்துள்ள முருகவேள் பரதேசி படத்தின் உருவாக்கத்தில் அவருக்கும் ஆதவன் தீட்சண்யாவுக்கும் நாவலை எழுதிய டானியலுக்கும் இழைக்கப்பட்டுள்ள அநீதி பற்றி எழுதியுள்ள கட்டுரை இது." Its self explanatory that this article belongs to முருகவேள்.

Anyway, I see you use this opportunity to trash Charu.

[mappi]

you are completely wrong here. The article says clearly on top "ரெட் டீ நாவலைத் தமிழில் எரியும் பனிக்காடு என்ற தலைப்பில் மொழிபெயர்த்துள்ள முருகவேள் பரதேசி படத்தின் உருவாக்கத்தில் அவருக்கும் ஆதவன் தீட்சண்யாவுக்கும் நாவலை எழுதிய டானியலுக்கும் இழைக்கப்பட்டுள்ள அநீதி பற்றி எழுதியுள்ள கட்டுரை இது." Its self explanatory that this article belongs to முருகவேள்.

Anyway, I see you use this opportunity to trash Charu.

oopps. I was under an impression that Charu had written the article with respect to Murugavel's comment. So deleting my post.
And my intention was not to Trash Charu but the ignorence of whom so ever wrote it.

[SoftSword]

Wonder why such question though I mentioned "ஆனாலும் கட்டுரை வாசிக்கப்பட வேண்டியது."

i read that... but after reading it i could not believe that many could support its views...
neengadhaan vitthiyaasama irukkanumnu virumburavar aachae... adha marandhu kaettuttaen...

[venkkiram]

i read that... but after reading it i could not believe that many could support its views...
neengadhaan vitthiyaasama irukkanumnu virumburavar aachae... adha marandhu kaettuttaen... I did not read either Red Tea or எரியும் பனிக்காடு. So I can not comment what all முருகவேள் says. Majority of people who watched/watching the movie also have not read the book. So you can not brand me as vitthiyaasama irukkanumnu virumburavar by standing in opposite camp. "vitthiyaasama irukkanumnu virumburavar" can be attributed to Bala and who ever praises the movie without considering the points what முருகவேள் mentions.

[Avadi to America]

I did not read either Red Tea or எரியும் பனிக்காடு. So I can not comment what all முருகவேள் says. Majority of people who watched/watching the movie also have not read the book. So you can not brand me as vitthiyaasama irukkanumnu virumburavar by standing in opposite camp. "vitthiyaasama irukkanumnu virumburavar" can be attributed to Bala and who ever praises the movie without considering the points what முருகவேள் mentions.

Sorry to say this Venki, now you have reached a point and you would go any extend to justify your views that you posted earlier in the thread.
In this article, charu questions, at least one of the questions, at bala that he didn't show the protagonist as a lower caste. That's probably/partially true. However, he showed the scene where athrava is getting beaten by tea kadai owner for sitting in a bench which is true in those days. People were not allowed to wear slippers. Even recent time, there were shops in northern Tamil nadu where lower caste people had separate glasses in tea kadai. Other than that he did not show the relationship between bonded labors and their respective caste. The movie runs just 2 hours and he cannot explain or go as deep as novel.

[venkkiram]

Sorry to say this Venki, now you have reached a point and you would go any extend to justify your views that you posted earlier in the thread.
In this article, charu questions, at least one of the questions, at bala that he didn't show the protagonist as a lower caste. That's probably/partially true. However, he showed the scene where athrava is getting beaten by tea kadai owner for sitting in a bench which is true in those days. People were not allowed to wear slippers. Even recent time, there were shops in northern Tamil nadu where lower caste people had separate glasses in tea kadai. Other than that he did not show the relationship between bonded labors and their respective caste. The movie runs just 2 hours and he cannot explain or go as deep as novel. நீங்கள் சொல்வதைப் பார்த்தால் நான் எதோ இணையத்தளத்தில் பரதேசி பற்றிய எதிர் விமர்சனங்களை தேடித் தேடிப் படித்து தினமும் இங்கே பதிகிறேன் என்பது போல தென்படுகிறதே! அப்படியா? இதுவரையில் இத்திரியில் ஒரே முறை அதுவும் ஞானியின் நீண்ட விமர்சனத்தில் இருந்து எனக்கு ஒத்துவந்து ஒரே வரியை மேற்கோள் காட்டியிருந்தேன். மற்றவை எல்லாமே வெளிப்படையாக என் மனதில் தோன்றியதுதான். சாரு, அதிஷா, கருந்தேள் என ஒரு சில பதிவர்கள் பரதேசி பற்றிய எதிர் விமர்சனங்களை வைத்திருக்கிறார்கள். அதையெல்லாம் வலிந்து நான் இங்கே பதியவில்லை. ரெட் டீ நாவலைத் தமிழில் எரியும் பனிக்காடு என்ற தலைப்பில் மொழிபெயர்த்துள்ள முருகவேள் என்பவரது கட்டுரை என்பதால் வாசிக்கப்பட வேண்டிய ஒன்றாக கருதி இங்கே பதிவு செய்தேன். அவ்வளவுதான். இந்த எரியும் பனிக்காடு நாவலைத் தள்ளிவைத்துப் பார்த்தாலும் பாலா சறுக்கியதாக நான் கருதுவது திரைக்கதையை அமைத்த பாணி, படத்தின் விஷுவல்களை உள்வாங்க பெரும் தடையாக இருக்கும் பின்னணி இசை, பாத்திரங்களின் வசன உச்சரிப்புக்களில் காணப்படும் ஒரு சமச்சீரற்ற தன்மை, முக்கியமான தருணங்களில் கதை நகர்விற்காக பாடல்களை பாலா பயன்படுத்தியிருக்கும் விதம். என்னைப்பொருத்தவரை இதுபோன்ற படைப்புக்களை ஜனநாதன், தங்கர்பச்சான், வசந்தபாலன் போன்றவர்கள் இயக்கி இருந்தால் கலைத்தன்மை இன்னும் பல மடங்கு கூடியிருக்கும்.

[NOV]

நீங்கள் சொல்வதைப் பார்த்தால் நான் எதோ இணையத்தளத்தில் பரதேசி பற்றிய எதிர் விமர்சனங்களை தேடித் தேடிப் படித்து தினமும் இங்கே பதிகிறேன் என்பது போல தென்படுகிறதே! :yes:

[Cinemarasigan]

It looks like the movie is not running well or some politics is being played.. From this friday number of shows of Paradesi is going to be lesser than Vathikuchi in Chennai. :banghead:

[arulraj]

It looks like the movie is not running well or some politics is being played.. From this friday number of shows of Paradesi is going to be lesser than Vathikuchi in Chennai. :banghead:

As i already told ; it won't click at box office.

[balaajee]

It looks like the movie is not running well or some politics is being played.. From this friday number of shows of Paradesi is going to be lesser than Vathikuchi in Chennai. :banghead:

Only 4 shows in satyam cinemas(all) from friday.....

[SoftSword]

நீங்கள் சொல்வதைப் பார்த்தால் நான் எதோ இணையத்தளத்தில் பரதேசி பற்றிய எதிர் விமர்சனங்களை தேடித் தேடிப் படித்து தினமும் இங்கே பதிகிறேன் என்பது போல தென்படுகிறதே! அப்படியா? இதுவரையில் இத்திரியில் ஒரே முறை அதுவும் ஞானியின் நீண்ட விமர்சனத்தில் இருந்து எனக்கு ஒத்துவந்து ஒரே வரியை மேற்கோள் காட்டியிருந்தேன். மற்றவை எல்லாமே வெளிப்படையாக என் மனதில் தோன்றியதுதான். சாரு, அதிஷா, கருந்தேள் என ஒரு சில பதிவர்கள் பரதேசி பற்றிய எதிர் விமர்சனங்களை வைத்திருக்கிறார்கள். அதையெல்லாம் வலிந்து நான் இங்கே பதியவில்லை. ரெட் டீ நாவலைத் தமிழில் எரியும் பனிக்காடு என்ற தலைப்பில் மொழிபெயர்த்துள்ள முருகவேள் என்பவரது கட்டுரை என்பதால் வாசிக்கப்பட வேண்டிய ஒன்றாக கருதி இங்கே பதிவு செய்தேன். அவ்வளவுதான். இந்த எரியும் பனிக்காடு நாவலைத் தள்ளிவைத்துப் பார்த்தாலும் பாலா சறுக்கியதாக நான் கருதுவது திரைக்கதையை அமைத்த பாணி, படத்தின் விஷுவல்களை உள்வாங்க பெரும் தடையாக இருக்கும் பின்னணி இசை, பாத்திரங்களின் வசன உச்சரிப்புக்களில் காணப்படும் ஒரு சமச்சீரற்ற தன்மை, முக்கியமான தருணங்களில் கதை நகர்விற்காக பாடல்களை பாலா பயன்படுத்தியிருக்கும் விதம். என்னைப்பொருத்தவரை இதுபோன்ற படைப்புக்களை ஜனநாதன், தங்கர்பச்சான், வசந்தபாலன் போன்றவர்கள் இயக்கி இருந்தால் கலைத்தன்மை இன்னும் பல மடங்கு கூடியிருக்கும்.

ok whats wrong with the screenplay venki??
how else could it have been done??

[hattori_hanzo]

It looks like the movie is not running well or some politics is being played.. From this friday number of shows of Paradesi is going to be lesser than Vathikuchi in Chennai. :banghead:

I think the performance is average in multiplexes. In single screens like Kasi, it is reduced to 2 shows from 2nd week.

[povAferdeack]

WoW so much criticism for this movie?
Went to Fun Cinemas on Wednesday evening and the theater was not even half full....sad state.

The female lead(if you can call her that) characterization is poor. The first half an hour had so many unwanted scenes, after the guy from the tea plantation arrives the screenplay is brilliant, hardly any unwanted scenes after that. OTOH I thought the female with the child did a brilliant job.

Leaving the first 20 - 30 mins the movie is brilliant, easily the best of Bala. He makes up for the initial 30 mins later. He wanted to show how poor people are often exploited and hits the nail on the head.

When the tea plantation guy meets Adharva first, he is shown praying and then proceeds to cheat and take the poor guys to the hell hole. This reminded me of Anbe Sivam where Nasar prays before giving the order to kill.

A number of digs at superstitions like thayathu, madhirikarathu, saamiku kaavu kudukarathu and how these are often tools to exploit desperate people.

I thought the song where he shows about Christianity was more of a commercial necessity, but he delivers the message. Britishers had political motive to convert people, at the same time a lot of people received medical aid and education. There is nothing called free lunch, these guys offered hope and in a number of cases they saved lives and conversion is a small price when you are suffering.

/spoiler The doctor(not the christian guy) says "intha paavam nammala summa vidathu" when he cripples Adharva, just goes on to show how people still continue to do things they think is immoral and go against their consciousness. Can we call this circumstance or perhaps greed, I don't know. /spoiler

Even though, I could guess the ending, I am not sure whether there could have been a better one. Nailed it.

People look at this as some sort of history from the distant past but the fact is it is more common than what most people think.
The conversion are happening even now. (not arguing whether its good or bad just saying it's not history but staring right in our face)
Sweatshops in China, people work for nearly 18 hrs a day making the electronics we use, the mines in Africa which supply a lot of minerals used in the electronics, a lot of child labor in the branded textile goods made in Bangladesh. These exploitation are real and current not something from distant past.

We somehow never learn from history, can these exploitation be stopped? I don't know.
But as George Orwell said

All animals are equal, but some animals are more equal than others

Bala :bow:

[mappi]

1. The female lead(if you can call her that) characterization is poor.

2. The first half an hour had so many unwanted scenes ... Leaving the first 20 - 30 mins the movie is brilliant,

3. I thought the song where he shows about Christianity was more of a commercial necessity,

4. Even though, I could guess the ending, I am not sure whether there could have been a better one. Nailed it.

Bala :bow:

1. I do not feel so. Maybe the character was for someone else to act, but Vedhika did do justice as a teenage girl. The weight of her character is the sympathy that she shows, the acceptence and in the end, the desparation - the confusion about Rasa's Cry. All these 3 factors that builds the character were well enacted by Vedhika. Ofcoarse question raises whether another actress would have played well, the answer remains with the individual who puts the question.

2. The main theme is the exploitation in the tea estate. You can't directly jump there. So a platform was created to take the characters there. All thru these minutes, not only the characters were established, but focus on their innocense, harmony, ego, grudge, life style, purity etc., are also captured, so that when the movie really gets dark, these points come to our mind in comparison.

3. Not necessarily. Neither the song is catchy nor the actors to make it a commercial sucess. How to show the convertion process - thats where the song sequence is intorduced. The major highlight of the song, eventhough many may consider it funny, is the small guy running behind the Britisher with his tongue out. Fill the blanks for me here. There are so many other minute details thrown in the song, which ends by letting us weigh who really are the exploiters - the britisher, the Kanganis or relegious people (dont forget the priest in the estate)

4. Its a typical Bala ending. Its his ending that make you walk out the cinema hall in silence.

[SoftSword]

good review soinsoin...

i concur with ur points on vedhika... she indeed is a miscast or atleast tried to overdo things in the jothika mould... her makeup did not help either... i could not but remember vishals poor makeup in the police kedavettu scene in AI...
as i told before, karutthakkanni was more charming and more than charming...

and the allaelooyaa song... its a win-win... it worked as a commercial/short relief from the depressing scenes/a sign for light in the tunnel for those poor people that they have found the right path to save themselves...

and the naakka thonga pOttutu vellatthOlu pinnadi sutthuradhu et all... bala's trademark satires...



/spoiler The doctor(not the christian guy) says "intha paavam nammala summa vidathu" when he cripples Adharva, just goes on to show how people still continue to do things they think is immoral and go against their consciousness. Can we call this circumstance or perhaps greed, I don't know. /spoiler


this is not a very unusual circumstance...
i have seen a few meatsellers in india saying 'indhap paavam ellaam ennappanna pOgudhO' when they slit the neck of the goats... this is no different that the scene in the movie... ellaam uyir dhaanae...

[kalyan]

Somebody PM me.....it is very boring without getting a PM for weeks together :-(

[sakaLAKALAKAlaa Vallavar]

/digg


i have seen a few meatsellers in india saying 'indhap paavam ellaam ennappanna pOgudhO' when they slit the neck of the goats... this is no different that the scene in the movie... ellaam uyir dhaanae...

True! for this reason, i stopped eating NonVeg(I started few years b4 only, that too only fish and egg, rarely chicken) i decided to stop bcos, no one adopts a safe and painless killing method for the animal and it undergoes maxxximum pain torture. Appadi oru uyirai kashta paduthi thaan saappidaNumaa?!?

On a related note, the scene in anbe Sivam "Intha maathiri accident la uyir pozhachi vanthaa, avangaLukkaaka kozhi adichi virunthu veppaanga" There, kozhi adichifying isn't that against anbe Sivam?!? Anbu is only limited to Humans and Dogs which wails the tail around humans?! not for Kozhi and other living beings?!

Those with weak heart don't see this link http://www.facebook.com/ControversialFiles?ref=stream I see this group regularly posting info about cruel chinese doing utmost physical torture to all kind of animals, though my heart bleeds, இதை தேடித்தேடிப்போய் பார்த்து மனவருத்தம் கொள்கிறேன், don't know why.

end digg//

[NOV]

http://sphotos-b.ak.fbcdn.net/hphotos-ak-snc7/307223_470122633024396_1514727492_n.png

[povAferdeack]

1. I do not feel so. Maybe the character was for someone else to act, but Vedhika did do justice as a teenage girl. The weight of her character is the sympathy that she shows, the acceptence and in the end, the desparation - the confusion about Rasa's Cry. All these 3 factors that builds the character were well enacted by Vedhika. Ofcoarse question raises whether another actress would have played well, the answer remains with the individual who puts the question.

2. The main theme is the exploitation in the tea estate. You can't directly jump there. So a platform was created to take the characters there. All thru these minutes, not only the characters were established, but focus on their innocense, harmony, ego, grudge, life style, purity etc., are also captured, so that when the movie really gets dark, these points come to our mind in comparison.

3. Not necessarily. Neither the song is catchy nor the actors to make it a commercial sucess. How to show the convertion process - thats where the song sequence is intorduced. The major highlight of the song, eventhough many may consider it funny, is the small guy running behind the Britisher with his tongue out. Fill the blanks for me here. There are so many other minute details thrown in the song, which ends by letting us weigh who really are the exploiters - the britisher, the Kanganis or relegious people (dont forget the priest in the estate)

4. Its a typical Bala ending. Its his ending that make you walk out the cinema hall in silence.

1. I still think the interaction between the two was bit forced considering they lived in a small community for so long....anyways whether its the character or the actress it didnt go well
2. I understand he was trying to give an introduction, i felt it was long and uneventful.
3. I think he conveyed the message in the one scene where Adharva takes the woman to the hospital and he finds the doctor asking a patient to pray before/ after medication. As Softie said it was a much needed break in between an otherwise serious and dark movie.
4. I am not a huge fan of endings in Bala's movies, the ending in Nandha was poor, Pithamagan was full of gore nothing more. Here the ending was something you could understand and feel.

[mappi]

Hi Iscain605,

Point 1 & 2 => OK, your observations are welcomed.

3. Right from the time the Doc Arrives, the signs of his motive are sprayed. The first one to find it was the local doc who says "My kuladeivam is Mary Amma" and the doc asks "Mari amma" and smiles from the confirmation he gets. The translation he does for his wife too implicates the same leave alone the actions and blessings they give. So comming to the song - I found the song dark and depressing and never like a break or a light (as I felt the dialogues of the bristisher towards the end of the song, during the song itself).

4. Like Vairamuthu said, "Vaithukum Thondaikum orundai uruluthadi" is the effect MOST of us get after watching a Bala's movie. He closes the film at the same time fills our mind with something to munch for a while. For me all his ending (excluding Avan Evan) were apt. Talking about Pithamagan Climax and ending : Accept that its gore-like, but not gore. The highlight all the way is Vikram + his dubbing (in between the howl you could hear some human words masked - absolutely brilliant) + action choreographed as though dogs fighting or dog attacking its prey and the silent impact creator Illayaraja.

Just to highlight, when "a film by Bala" is put on screen, there will be a character running or walking freezed on screen, except in Nandha and Paradesi, they were lying down and screen goes black.

[sakaLAKALAKAlaa Vallavar]

https://pbs.twimg.com/media/BGwiVRNCMAAtgtr.jpg:large

[SoftSword]

^good one

[HonestRaj]

saw the film...
i don't know whether to say i liked it or not... but no one should miss a bala film... u don't get to see these from other film makers or i should say the re-makers..
i think the ending is not forced.. it might be the reality there

[Avadi to America]

saw the film...
i don't know whether to say i liked it or not... but no one should miss a bala film... u don't get to see these from other film makers or i should say the re-makers..
i think the ending is not forced.. it might be the reality there

Annaesu,
I liked the end since it's not a dramatic or forced insertion.

[SoftSword]

saw the film...
i don't know whether to say i liked it or not... but no one should miss a bala film... u don't get to see these from other film makers or i should say the re-makers..
i think the ending is not forced.. it might be the reality there

good one honest...

[tamizharasan]

I liked the movie. Arguably the most honest and less dramatic movie of Bala yet. Bala had his own formula in his previous movies and that did not impress me much. But in this movie he broke the formulas and let the things play in natural way. Though this movie, does not drive any point home or does not give any takeaways for me, still portrayed the happening very well.

[SoftSword]

i thot the ending was a bit positive to the given context, though adharva looks at it in a pessimistic way...

[P_R]

Something I wrote on twitter last week in a discussion with our equa. Slightly modified and posting here:

Just in terms of sheer performance (Dhansika) trumped Sangeetha (whose performance I do like a lot).

Her concern when the (caricatured) durai approaches Karuththakkanni, her 'too warm hearted for sentimentality' demeanour, her reactions in the 'letter-reading' scene you mention from admiring the naughty rAsA to admonishing him for trying to absolve himself from the responsibility (though she knows he is nothing like the man who deserted her - how do we know that she knows that - credit to her and Bala)

And Bala is a master of the 'formation of an unlikely family' - IIRC your concern when seeing the trailers was he was doing the opposite here. It now feels like 'iLangAththu veesudhE' was a warm up - and he seems intent on achieving more impact with less effort.

Karuthakanni's death is far from 'convenient in an annoying way'. And Bala has RAsA literally 'hit on the head' by Maragadham.

A couple of points to add

RAsA is presented as kinda simple, but not naive of sensual/social mores in a horrible Chinnathambi kind of way. He jokes about 'periappa' Vikramadhithan's philandering.

When the whole (hilarious) panjAyAththu is going on Bala has AngammA inviting rAsA to a sexcapade - where have we seen such a thing in Tamil films??

For such a man who is not naive, who is at the bottom of the social ladder and doesn't seem to care for being ostracized (he pretty much says so to his grandmother)- for even such a man to react so to Karuthakanni - was a brilliant depiction methought. Depiction of the extent to which chauvinism is ingrained - can't get any better.

Rather than simplistic depictions that villainize chauvinists, it is the depiction of how even simple and otherwise nice people are capable of such cruelty because they absorb certain social mores - that is more hardhitting.

Karuththakanni's husband does not fully understand what happened. Notice how he is still grappling with what happened, when rAsA understand it.

In such situations, the conservative chauvinist who hates the woman also hates her helpless-emasculated man. If anything he hates the man more. But rAsA seems to be able to warm up to the man easier - understand his helplessness but is unwilling to acknowledge that it in Karuththakanni's case. How extraordinarily cruel!

And yeah the crying and working on anyway moment - possibly the strongest recording of the suffering woman in Tamil cinema. She suffers everything the man suffers and far more and is still made to feel guilty about it and has to keep going.

And Maragadham's backstory remains (beautifully) unexplained. They say her husband is the 'only one who managed to escape'. Is she only angry that he abandoned her? It is not impossible to consider a pact where he consented to leave his wife back for the durai in exchange for his escape (considering how it seems impossible to escape). Is that why she is all the more angry? She says she will 'find' him - seems to suggest he has reason not to return to wherever they were from?

How does Maragadham view Karuthakanni's husband? Wouldn't that have been the plight of her husband had he stuck on? Helpless onlooker but companion though thick and thin. He wouldnt've been able to do a single thing to better her lot, but he could have just been there with her.

While earlier she seem to be protective of Karuthakanni - giving her tea leaves etc. in a hopeless fight to guard her from Durai's eyes - later she seems to be matronly to both husband and wife. And she isn't that old herself - what an impressive unlikeliness.

Hmm... I know seem to have liked the movie more than I thought I did.

[P_R]

equa had a couple of good posts....nALaikku eduththu pOduREn

[SoftSword]

Something I wrote on twitter last week in a discussion with our equa. Slightly modified and posting here:

Just in terms of sheer performance (Dhansika) trumped Sangeetha (whose performance I do like a lot).

Her concern when the (caricatured) durai approaches Karuththakkanni, her 'too warm hearted for sentimentality' demeanour, her reactions in the 'letter-reading' scene you mention from admiring the naughty rAsA to admonishing him for trying to absolve himself from the responsibility (though she knows he is nothing like the man who deserted her - how do we know that she knows that - credit to her and Bala)

And Bala is a master of the 'formation of an unlikely family' - IIRC your concern when seeing the trailers was he was doing the opposite here. It now feels like 'iLangAththu veesudhE' was a warm up - and he seems intent on achieving more impact with less effort.

Karuthakanni's death is far from 'convenient in an annoying way'. And Bala has RAsA literally 'hit on the head' by Maragadham.

A couple of points to add

RAsA is presented as kinda simple, but not naive of sensual/social mores in a horrible Chinnathambi kind of way. He jokes about 'periappa' Vikramadhithan's philandering.

When the whole (hilarious) panjAyAththu is going on Bala has AngammA inviting rAsA to a sexcapade - where have we seen such a thing in Tamil films??

For such a man who is not naive, who is at the bottom of the social ladder and doesn't seem to care for being ostracized (he pretty much says so to his grandmother)- for even such a man to react so to Karuthakanni - was a brilliant depiction methought. Depiction of the extent to which chauvinism is ingrained - can't get any better.

Rather than simplistic depictions that villainize chauvinists, it is the depiction of how even simple and otherwise nice people are capable of such cruelty because they absorb certain social mores - that is more hardhitting.

Karuththakanni's husband does not fully understand what happened. Notice how he is still grappling with what happened, when rAsA understand it.

In such situations, the conservative chauvinist who hates the woman also hates her helpless-emasculated man. If anything he hates the man more. But rAsA seems to be able to warm up to the man easier - understand his helplessness but is unwilling to acknowledge that it in Karuththakanni's case. How extraordinarily cruel!

And yeah the crying and working on anyway moment - possibly the strongest recording of the suffering woman in Tamil cinema. She suffers everything the man suffers and far more and is still made to feel guilty about it and has to keep going.

And Maragadham's backstory remains (beautifully) unexplained. They say her husband is the 'only one who managed to escape'. Is she only angry that he abandoned her? It is not impossible to consider a pact where he consented to leave his wife back for the durai in exchange for his escape (considering how it seems impossible to escape). Is that why she is all the more angry? She says she will 'find' him - seems to suggest he has reason not to return to wherever they were from?

How does Maragadham view Karuthakanni's husband? Wouldn't that have been the plight of her husband had he stuck on? Helpless onlooker but companion though thick and thin. He wouldnt've been able to do a single thing to better her lot, but he could have just been there with her.

While earlier she seem to be protective of Karuthakanni - giving her tea leaves etc. in a hopeless fight to guard her from Durai's eyes - later she seems to be matronly to both husband and wife. And she isn't that old herself - what an impressive unlikeliness.

Hmm... I know seem to have liked the movie more than I thought I did.

brilliant take on the rasa's chauvinistic side...
gimme more...

idhukku dhaan neenga padam paatthappove verala vittu vaandhi edunganu kadharikkittu irundhaen... equar madhiri ovvaadhadhu ullappOnaadhaan komattittu varum pOla...

[mappi]

And yeah the crying and working on anyway moment - possibly the strongest recording of the suffering woman in Tamil cinema. She suffers everything the man suffers and far more and is still made to feel guilty about it and has to keep going.

Quite true. Had a similar discussion some time back explaining how the tasks were shared with women but the credits going to men alone (exception excluded).


And Maragadham's backstory remains (beautifully) unexplained. They say her husband is the 'only one who managed to escape'. Is she only angry that he abandoned her? It is not impossible to consider a pact where he consented to leave his wife back for the durai in exchange for his escape (considering how it seems impossible to escape). Is that why she is all the more angry? She says she will 'find' him - seems to suggest he has reason not to return to wherever they were from?

Eventhough some of us have talked and identified the beautifulness of this characterisation, this is also the major drawback for the film. Most would be under an impression or motivated to think that - "Its possible to escape ; our hero would do it along with the sickle carrying women-partner". So when the climax arrived they were like a bit let down and started to have a clumpsy feeling about the end.

[SoftSword]

i was assuming that her husband was killed by the goons...

[mappi]

i was assuming that her husband was killed by the goons...

My order :

1. a pact where he consented to leave his wife back for the durai in exchange for his escape
2. Died Trying
3. Escaped successfully
4. (long fetched) : Killed by Durai for having seen or done or known something that he shoudn't have. A death could provocate agitation, so they masked it as an escape.

[equanimus]

Thanks PR. Not written a full-blown review but re-posting a bunch of posts I wrote on specific aspects of the film or in reaction to specific questions/criticisms.

Initial reaction (http://twitlonger.com/show/lamvaf):
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பரதேசி: பாலாவின் signature narrative arcஐத் தவிர்த்து (எவ்வித standard narrative arcஐயும் கையாளாமல்) நடந்ததைப் பதிவு செய்யும் அளவில் – ஒரு வரலாற்றுப் பதிவாய் – இயங்கும் படைப்பு. உலகறிந்த உண்மையை பட்டவர்த்தனமாகக் கண்முன் நிறுத்துவதன் மூலமே, மனித நிலையின் அவலத்தை எந்தக் குறிப்பிட்டத் தத்துவ-சித்தாந்தக் கோட்பாடுகளினூடாக அல்லாமல் வெளிப்படையாகக் காட்டுவதன் மூலமே, "நியாயமாரே..." என்று எல்லோரிடமும் முறையிட்டுக் கதறி அழுவதன் மூலமே கலையாகிறது.

படத்தில் எவ்வித abstract மானுட சோகத்திற்கோ தனிமனித துக்கங்களுக்கோ இடமில்லை. அதன் பார்வை – unflinching focus, வாழ வேண்டி மனித உடலின் சளைக்காத உழைப்பிலும், அதைப் பெருக்கி முழுமூச்சுடனும் கட்டுக்கோப்புடனும் சுரண்டும் மனித அமைப்புகளிலும், வாழ்நாள் முழுதும் கொத்தடிமைகளாய் இருப்பது வெற்றுக் கணக்குகளாய் மாறும் அவலத்திலும் மட்டுமே.

"ஒரு நிமிசம் டீ குடிக்கறதுக்கு முன்னாடி யோசிப்பீங்க, படம் பார்த்ததுக்கு அப்புறம். அது குடிக்கலாமா வேணாமான்னு..." என்று பாலா சொன்னதை சும்மா ஒரு effectடுக்காகச் சொன்னதாக எடுத்துக்கொள்ள முடியவில்லை. பிரச்சனை டீயைச் சார்ந்ததும் அல்ல.

மேன்மையான படம்.

ரமேஷ் ராமின் சிறந்த விமரிசனம் (ஆங்கிலம்): "Bala’s Paradesi(2012-13) : an Oppari : Relentless exploitation." http://rameshram.wordpress.com/2013/03/15/balas-paradesi2012-13-an-oppari-relentless-exploitation/
__________

[otuziosoqu]

what a lovely review thanks for sharing

[equanimus]

http://twitlonger.com/show/n_1rjifc2:
__________

A note on பரதேசி in response to @_tharkuri's post regarding the film's portrayal of sexual exploitation (http://tharkuri.wordpress.com/2013/03/22/oppression-and-sexual-violence/): http://tharkuri.wordpress.com/2013/03/22/oppression-and-sexual-violence/comment-page-1/#comment-473

I'm referring to the moment when Maragadam tries to knock some sense into him when he keeps ignoring Karuthakanni. She's shown to react sternly (every time we see it) to Raasa's attitude towards Karuthakanni after her rape. And at one point, she knocks him on his head. Consider this alongside her disapproval of Raasa's shifting the blame to Angamma: "பொம்பள மேல பழிய போட்டை தொடப்பக்கட்டை பிஞ்சிரும். ஒழுங்கா கணக்க முடிச்சுட்டு ஊரு போயி சேர்ற வழியப் பாரு. பாவத்த அள்ளிக் கொட்டிக்காத." Hers is the voice the film aligns itself with and Raasa is simply shown to be a jerk in this matter. In fact, it is to the film's credit that it exposes Raasa's hypocrisy/blindness without obfuscating the problem in any which way. (Consider how, typically, the woman herself feels ashamed to face others. Here it is so not the case. She is shattered when she realises he's avoiding her.)

On that note, I didn't think Karuthakanni's death in this film is per se convenient (you know, in an annoying way). I must admit though that I was "aware" of the angle when she did die. But it has to be said that the film shows how she and others move on, how Raasa stops being a jerk and reconciles with her and so on. The moment when she's sobbing her heart out even as she's working was one of the most moving moments in the film for me. And her death here isn't shown to be an "unfortunate intervention of fate" (which is a very common move) either. She's just one of the many who die. The focus is somewhere else.

On a related note, one point that nobody seems to be talking about is the 'fraternal' bonding between Maragadam and Raasa. அபூர்வமான விஷயம். பாலா அனாயாசமா கடந்து போயிருக்கார்.
__________

Bunch-of-tweets in reply to this tweet (https://twitter.com/dagalti/status/319397902172688385) by PR (in response to which he wrote his above post):
__________

Yes. Dhansika. Earler acted in pErANmai, aravAn. I felt Bala has also handled her scenes (I mean, extracting the right reaction in various scenes, how it's cut and so on) deftly, more so than Sangeetha's Gomathi in pithAmagan. The deftness is also required in the sense that here Maragadam has a more crucial role (considering only the 2nd half) but at the same time it has to remain less pronounced throughout (which is the general scheme of this film; you see even the most important characters are just present/part of a larger scene/setup, doing their work and so on). Actually the focus on the sheer work that needs to be done is brilliantly handled. Maragadam embracing Raasa is another great moment in the film. இப்படி நிறைய இருக்கு.
__________

[equanimus]

And my response (http://twitlonger.com/show/n_1rjl5pp) to PR's post (http://www.twitlonger.com/show/n_1rjiu78):
__________

.@dagalti @_tharkuri

"Over and above all that - just in terms of sheer performance she trumped Sangeetha (whose performance I do like a lot)."

Oh, totally agree. Dhansika is excellent here. I mean to add regarding how Bala has also handled her character deftly. This (her superb performance and Bala crafting it in a further polished way after Gomathi in pithAmagan) is something a friend (@saraks) and I were also discussing incidentally. The unobtrusive introduction, the smooth cutaways to her offhand reactions and so on. She seamlessly becomes one of the crucial characters of the film. Even Karuthakanni and Thangarasu are etched with care and impressively played again quite in line with this approach. They're part of the big picture, the larger scheme but their performances are impactful nevertheless.

And yes, loved how her own past/baggage in the estate is left unexplained. Which also adds a dimension of universality to the portrayal of exploitation. The details of what all she personally went through doesn't matter, we only (need to) see her hardened self to get a sense of how things are out here.

And of course, the lead pair's sexcapades are portrayed without any fuss whatsoever. அனாயாசம். Another aspect which I kinda found moving here was how Angamma and Raasa are portrayed as kindred souls in some sense. They both come off as a bit off (esp. in the panchayat scene, with Angamma nodding along to the background music (!) and a cut to Raasa who's also in a bit of daze nodding his head slowly).
__________

And an additional note (http://www.twitlonger.com/show/n_1rjl5v3) about Bala's transition from the liminal presence of the hero in nAn kadavuL:
__________

.@dagalti On a related note, one can't help but admire how Bala seems to be leading the pack in steadily moving AWAY from hero-centric films as well when it has actually been one of the key characteristics of his earlier films. We see signs of this in nAn kadavuL itself. Where we have the ultimate all-powerful hero who's also perfectly indifferent to everything around him, who doesn't so much as bat an eyelid seeing all the suffering. Thus much of (at least one half of) the film revolves around and becomes about the supporting characters who are truly helpless, so to speak, without the hero except as a liminal presence (revealing the logic of its own narrative arc). In avan-ivan, the heroes are aimless wanderers who no longer wish to do anything except follow the director's orders and the film further pushes Bala's film universe towards being about a motley of characters. And of course, any such deus ex machina doesn't even have a place in paradEsi. So, in retrospect, the abstraction of the hero-centric narrative by stripping it down to its bare minimum in nan kadavuL perhaps functions as a marker in Bala's filmography.
__________

[venkkiram]

பரதேசி: வதையின் வரலாறா, வரலாற்றின் வதையா?

http://www.vinavu.com/2013/03/26/paradesi-movie-review/

[venkkiram]

பரதேசி: பாலாவின் signature narrative arcஐத் தவிர்த்து (எவ்வித standard narrative arcஐயும் கையாளாமல்) நடந்ததைப் பதிவு செய்யும் அளவில் – ஒரு வரலாற்றுப் பதிவாய் – இயங்கும் படைப்பு. உலகறிந்த உண்மையை பட்டவர்த்தனமாகக் கண்முன் நிறுத்துவதன் மூலமே, மனித நிலையின் அவலத்தை எந்தக் குறிப்பிட்டத் தத்துவ-சித்தாந்தக் கோட்பாடுகளினூடாக அல்லாமல் வெளிப்படையாகக் காட்டுவதன் மூலமே, "நியாயமாரே..." என்று எல்லோரிடமும் முறையிட்டுக் கதறி அழுவதன் மூலமே கலையாகிறது. எவ்வளவு அலங்காரமான வார்த்தைகள்!

[equanimus]

புரியல. My point (the bit you highlight) was only with respect to how this film departs from Bala's signature narrative arc. He plays it straight - the proverbial "showing what happened" - என்று சொல்ல வந்தேன். Other than that, I didn't mean to comment on the historical accuracy of the film at all.

Just to add though, this was just my initial reaction. I had another exchange with @JVazhkudai (https://twitter.com/JVazhkudai) where I've put forth my thoughts regarding the problematic aspects in the portrayal of the doctor and the caste angle. I didn't re-post that exchange here as it was prior to the discussion with @_tharkuri and PR and I wasn't sure if PR was referring to it as well. Anyway, copy-pasting it now:

@equanimus (1 (https://twitter.com/equanimus/status/316588406773792768), 2 (https://twitter.com/equanimus/status/316589167264018432)):
__________

I realised the author (doctor) was also an Indian much later. Thought Bala made him an Indian just to further his agenda. But given he was also a native, the move might be problematic in the proper sense. Have to read the novel to understand better.
__________


@JVazhkudai (1 (https://twitter.com/JVazhkudai/status/316593308635906049), 2 (https://twitter.com/JVazhkudai/status/316593590065311744)):
__________

true. i realised it now. in that case the movie fails in its most advertised selling point. truth. also the blackout of dalits in the movie another blow to bala's artistic standing.
__________


@equanimus (https://twitter.com/equanimus/status/316853853641396224) (on twitlonger (http://twitlonger.com/show/n_1rjepkn)):
__________

.@JVazhkudai Actually I'm not sure I understand the charge of blackout of Dalits. I thought the scene where Raasa is denied கூலி for his work (the shopkeeper seems genuinely surprised) and beaten up earlier in the same scene for sitting on the bench was shown as the lead-up to கங்காணி making his offer to Raasa. I felt this scene underlined Raasa's position in the caste hierarchy. Does the film imply he (or any other character who go to work in the estate) is not a Dalit anywhere?

Generally though, I agree with your point that most films don't take caste head-on or portray caste related issues without mincing words. Invariably there's something left unsaid or touched upon in a vague sense.

On the other hand, as I said earlier, the portrayal of the doctor does seem really muddled up. What's worse, considering how much it departs, it ought to have been a deliberate move on Bala's part. Perhaps things might clear up further if one reads the novel but this is certainly problematic in much the same way as the careless invocation of cow slaughter issue in avan-ivan (though to be fair the treatment there is not without a tinge or irony, quite like in Sethu; the way the main character's action is portrayed, there's a sense of it being an unfortunate presumptuous act of self-righteousness that Highness/Sethu indulges in).
__________

[SoftSword]

neraya pesunga...
sethu?? the agrahara sex racket episode?? back then i only thot it was the tamil cinemas usual 'kannu theriyadhavangaukku road cross panni vidradhu'... 'vayasanavangalukku paal packet vaangi kudukkuradhu'... etc., which impresses the lead girl...
innum deepa edhunaa irukkaa??

[balaajee]

BALA's Blessing kiss to his STUDENT...

2398

[balaajee]

Next (http://cinema.vikatan.com/articles/news/28/4400) நான்கு விருதுகள் அள்ளிய 'பரதேசி!'
பாலா இயக்கத்தில் அதர்வா, வேதிகா, தன்ஷிகா மற்றும் பலர் நடித்து வெளியான படம் 'பரதேசி'. இப்படத்தை பி ஸ்டுடியோஸ் மூலம் பாலவே தயாரித்தார். படத்திற்கு ஜி.வி.பிரகாஷ்குமார் இசையமைத்தார். செழியன் ஒளிப்பதிவு செய்தார்.இப்படம் ஏற்கனவே சிறந்த ஆடைவடிவமைப்பிற்காக தேசிய விருது பெற்றது. தற்போது நார்வே தமிழ் திரைப்பட விழாவில் நான்கு விருதுகளைப் வென்றிருக்கிறது.

சிறந்த திரைப்படம் (பரதேசி)
சிறந்த இயக்குநர் (பாலா)
சிறந்த நடிகர் (அதர்வா)
சிறந்த ஒளிப்பதிவு (செழியன்)ஆகிய நான்கு பிரிவுகளில் விருதுகளை வென்றிருக்கிறது 'பரதேசி' திரைப்படம்.
வாழ்த்துகள்!