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Baasha 2016 - A technical briefing on the remastered version
by Suresh Krishna (Director), Venkatram Mohan (Editor), Laxmi Narayanan (Audiographer [DA]), Sabesh & Murali (Re-Recording [OST by Deva (1995)).
https://www.youtube.com/watch?v=emQNlt0amOw
Initiated & Produced by Thangaraj for Satya Movies.
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How vibrant will be the theme music, the sound design and the images on the remastered version?
https://www.youtube.com/watch?v=5dnl0CjfdpQ
Satya Movies,
Please release ORIGINAL blu-ray version (no watermarks). I have got VHS, VCD & DVD versions of Baasha. Would love to crown my collection with a fabulous Collectors Edition.
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I landed yesterday and was gladly surprised to learn about the commencement of Pa.Rajinth film titled Kaala Karikaalan starring Rajini.
https://img15.hostingpics.net/pics/145532Kaala001.jpg
Prominently named as Kaala, the producer Danush (Wunderbar Films) has released two posters to announce the start of the filming process, where Rajini teams up with Pa. Rajinth for the second time after the 2016 film Kabali.
https://img15.hostingpics.net/pics/779057KaalaFL2.jpg
I was delighted to find many have speculated and debated what the above poster could mean, treating it like a kind of mysterious poster with embedded hints, and finally piecing together the possible connections according to what they think Pa.Rajinth beleives. Few have even gone to a greater extent of prediciting the story line asuming the real life story of the Chola King Karikalan.
https://img15.hostingpics.net/pics/588408KaalaFL1.jpg
This is the typical and the right First Look poster that I would cherish more than the other one [personally I found the second one unecessary for an opening announcement].
A furious Rajini with blood on his face hit by a cluster of smoke and ashes sticking to the temple and dusted on the top wear as well as present below the neck. There is no indication about the blood belonging to who or the origin of the smoke/ash (white dust).
Couple of dialogues from the film Mad Max comes to my mind while looking at Kaala First Look Poster :
1. My name is Max. My world is fire. And blood.
2. You're bleeding. - That's not his blood. [the same dialogue appears in the teaser of the Telugu film Saaho starring Prabhas]
The dark backdrop with the title presented in a red font arouse a kind of curiocity while looking it with the yelling face vector of Rajini. Red as in rebellion, the assertion of ones individuality and an uncivilized impulse. The stain of blood on the face is made to look permanent - gaining and/or causing pain. That's Red as in blood.
The interesting part of this awesome poster is the dense and protuberant grey smoke. It not only creates an in-depth to the poster's profile, it is evidently an symbol in the poster. The smog settles itself as an another face looking straight at the blood stained Rajini. The grey gas does not spread all over the poster but settles itself resembling close to the side profile of a bald headed man with noticeable ear, long bread and a leg of eyeglasses crossing over the cheek bone.
I want to think it as the smoky shadow of Periyar E.V.Ramasamy [or maybe even the bald version of Rajini himself]. This case makes Kaala Karikaalan First Look an iconic movie poster.
https://img15.hostingpics.net/pics/805524Kaala002.jpg
Few shooting spot pictures were also released where Rajini is seen wearing a kind of an 'hybrid' Kurta that looks fantastic on him. The top wear should not be mistaken for a shirt. The neckline of the top suggests it to be a Kurta, but the arms are tailored matching it to a shirt. The round neck open collar is stamped as a new designer wear for men and as usual the Kurta is Blue - the Fashion Color of Rajini. The embroidery work around kurta collar is surperb. The attire matches the character's gesture (in the above still) and sinks well with the make over for Rajini that includes a short white bread with a dark mustache lined with the upper lip. Ofcoarse, the dark shaded eyeglasses looking like Wayfarer round sunglasses [Reminds me of the opening song from Rajathi Raja ...].
I felt Rajini to be looking slimmer & fitter than he was potrayed in Kabali and that makes me happier.
A perfect poster, as talkative as the previous Ranjith-Rajini film.
Kaala - Juncture
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Rajini - Back to 70s
https://img15.hostingpics.net/pics/990356Rajini70s.jpg
5/ Kurradanukoni from Chilakamma Cheppindi (1977)
[Telugu]
https://www.youtube.com/watch?v=wfqzdqpLqxw
4/ Maanodum Malayile from Kavikkuyil (1977)
https://www.youtube.com/watch?v=ysvvvPCi8zo
3/ Gopurathile from Shankar Salim Simon (1978)
https://www.youtube.com/watch?v=8riV859Oz2A
2/ Viliyile Malarnthathu from Bhuvana Oru Kelvi Kuri (1977)
https://www.youtube.com/watch?v=6KrG9aDqt3E
1/ Swing Swing from Vanakkatukuriya Kathaliye (1978)
https://www.youtube.com/watch?v=q22B2uaJyfc
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Kaala Wall Art
https://img4.hostingpics.net/pics/27...aWallArt02.jpg
Remember this wall ... ?
https://img4.hostingpics.net/pics/76...aWallArt01.jpg
I admire the liberty the artist took to change the hair style of Rajini in the above portrayal of the character Kaala Karikalan.
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Kaala - Paint it Black
https://img4.hostingpics.net/pics/29...laFanPos01.jpg
https://img4.hostingpics.net/pics/18...laPoster01.jpg
https://www.youtube.com/watch?v=O4irXQhgMqg
[Paint it Black by The Rolling Stone (1966) is one of the first rock song (released as a single) that used sitar as the lead string instrument, played by guitarist Brian Jones. Several tracks in their next album Between the Buttons and Their Satanic Majesties Request used sitar.
The instrument was officially recorded by lead guitarist George Harrison of The Beetles on the pop rock song Norwegian Wood (This Bird Has Flown) (1965) in thier sixth studio album Rubber Soul. The lead guitarist of the band also introduced other Indian Instrumentaion in Pop Music, including tambura and tabla. He released a complete Indian classical style tracks the following years (Love You To, Within You Without You, Tomorrow Never Knows, Across the Universe).
Before George Harrison, The Yardbirds used sitar as the main riff on thier song Heart Full of Soul (1965), but the sitar version did not make to the store. The track was re-recorded without the sitar part (if you are interested to listen to the amazing piece, search for 'heart full of soul yardbirds sitar' on youtube).
Rabindra Shankar Chowdhury, often addressed as Pandit Ravi Shankar, was the Indian sitarist who was influential in bringing sitar into Western orchestre. George Harrison is his student.]
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Recently I watched the film Wind River (Directed by Taylor Sheridan, 2017). There is this particular scene where the FBI agent (Elizabeth Olsen) asks the cellphone number of the Hunter (Jeremy Renner). She places the call and the Hunter retruns to meet her. It is explained in just 3 shots:
1/ INDOOR, at the morgue: What is the hunter's Phone number ? [CUT]
2/ INTERRIOR, inside the car: The Hunter who is driving the car picks up his ringing phone and answers it. [CUT]
3/ OUTDOOR, on the road: The jeep the hunter is driving makes a U-Turn. [CUT]
In less than a second, the need of the FBI Agent, the call she had made, the matter they spoke and the Hunter on his way to meet her is visually explained.
I was immediately reminded of Baasha - the climax duel where Baasha bests up Anthony before throwing him into the burning vehicle. The Climax sequence summarises the movie within 15 seconds before bringing the resolution to the story.
The effectiveness in the direction makes Baasha the best script in its genre.
Baasha - The Master Script
What has been will be again, what has been done will be done again; there is nothing new under the sun.
- Ecclesiastes 1:9 [Hebrew Bible]
https://img11.hostingpics.net/pics/73535303.jpg
Through screen-writing the scene could flow from one stage to another by rewriting the whole episode by choosing a narrator. The brilliance of the director made him choose the audience as the narrator by showing them at the exact moment what had happened to Rangasamy and Anwar, constructing the need for the character to avenge Antony.
The major role of Editing is to handle the slowness and convert it to incredible pace [I repeat, editing is not chopping scenes to gain time, it is a technique to integrate the visual narration (the vision of the director in accordance with his understanding towards the script) under a coherent time interval]. If the story is strong, then the process of building it up into a moving picture is fluent, else, the repetition in the writing will be truly visible. Editing is nothing but destroying the writing. It depends more on crispness rather than the detail itself. An editor along with the cameraman, can effectively reproduce the idea of the writer and the vision of the director.
During the climax where Baasha beats up Antony, the crowd around him perform a continuous applause. Their hands - everyone is pointing their fist above their head. The setup creates an illusion making the public (the audience) punching Anthony. The camera angel crops the sky and concentrates on the green fields below, sending a message that it’s not a divine war, but a true battle fought by their messiah Manickam in their world.
When Manickam punches Antony he is shown among the crowd. While it cuts to Baasha, the angle tilts towards the sky, charging him to become a divine intervention. The death of Baasha’s friend Anwar makes him look like he is floating in the sky. The two subjects – Baasha and Anwar – are shot with the same low angle, whereas, Manickam and Antony are captured under Over the Shoulder Shots.
The position of the subjects creates a relationship between various characters.
When Antony shoots Rangasamy in his back, its Baasha who reacts to the gun shot (under Two Shot camera angle). The frame is broken with a blue screen, and Manickam takes Baasha's position while punching Antony. The Match Cut and Cross Dissolve are brilliant.
The framing (Length of a shot), the angle of the shot and every movement involved, bring in the needed purpose and effect. The fantastic direction is the Canted angle on Anwar, where the camera is placed to the ground level, where the movie audience are seated, involving them as the EYE of the entire shot.
Such is the connection between writing, direction, visualisation and editing. And viewing.
https://img11.hostingpics.net/pics/179839Baasha1.jpg
https://img11.hostingpics.net/pics/309761Baasha2.jpg
The director tells the entire tale of Baasha by moving the action with the camera included inside a series of cuts by going from one shot to another.
Baasha is a Tamil language film released on Pongal 1995. The film is written and directed by Suresh Krissna for Sathya Movies (produced by R. M. Veerappan). P. S. Prakash handled the Cinematography while Ganesh Kumar edited the movie. Baasha has a huge star casting, in which Rajini plays the principal characters Manickam and Manick Baasha.
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Baasha - The Master Script
Few pictures to illustrate the position that creates a connection between the subjects which are basically different characters interlinked in the movie world Baasha:
Reaction shot - Manickam and Antony starring at each other :
https://img11.hostingpics.net/pics/28763001.jpg
https://img11.hostingpics.net/pics/87111102.jpg
Reaction shot : Antony firing at Rangasamy and Baasha yelling
https://img11.hostingpics.net/pics/48432821.jpg
https://img11.hostingpics.net/pics/95107522.jpg
Two different subjects under two different frames, but cropped similarly : Death of Anwar and Baasha punching Antony
https://img11.hostingpics.net/pics/19884517.jpg
https://img11.hostingpics.net/pics/20095019.jpg
Manickam and Baasha Punching Antony [The ground & the Sky]
https://img11.hostingpics.net/pics/14220125.jpg
https://img11.hostingpics.net/pics/41312526.jpg
End of Anwar & Antony
https://img11.hostingpics.net/pics/52597105.jpg
https://img11.hostingpics.net/pics/22402531.jpg
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Baasha - The Master Script
The Movie Clock (part 1/2)
https://img4.hostingpics.net/pics/819274FB407.jpg
Our films presented Flash Forwards and Flashbacks using a spinning wheel. The directors pointed out the element, the time, inside their story world by either rotating the wheel backwards (flashback) or turning the wheel clockwise (flash forward).
A quick example: A man alters into a kid (flashback) or a boy turns into a Hero (flash forward).
Later, the flashbacks were shown inside a musical expressing the character's emotions; famously addressed as Pathos Song, in which the agony of the character is summed up by pulling random bygone scenes. The events elegantly shifts from past to present within the short period of the songs runtime.
https://www.youtube.com/watch?v=HYsDtxDwAjw
(From Dharma Durai, 1991)
The Pathos Song concentrated on the past and never looked into the future, until, Rajini films started to take a huge leap altering this custom pattern by introducing the future as the main element in a song sequence. Rajini character elegantly upgrades itself from rags to riches. The present status of the character living inside the story world touches the extreme (a pauper becoming a prince) within the song climbing a sort of virtual ladder constructed with courage and determination.
https://www.youtube.com/watch?v=dlfW2oUxapk
(From Padayappa, 1999)
Recently, Rajini completes building a dam across a river inside a song sequence.
https://www.youtube.com/watch?v=hTP6Uybk4bo
(From Lingaa, 2014)
Also recently, Ajith Kumar survives in the cold weather repairing his physical injuries while recovering from his bullet wounds. He soars back to meet his wife to whom he had promised his return. 'Thalai Viduthalai', is one such song that is a part of the screenplay portraying the Fall-Rise situation that illustrates the journey of the time forward, at the same time highlights the events from the past.
https://www.youtube.com/watch?v=s18FrsK3zOo
(From Vivegam, 2017)
Baasha redefined the way time can be illustrated in movies. The screenplay is designed to raise both curiosities as well as to fuel the viewer with adrenaline. Using a non-standard linear progression, Baasha, just like GodFather Part 2 (1974, written by Francis Ford Coppola & Mario Puzo), tells two stories that run parallel. One story details about Manickam (present) and the other shows Baasha (past). Whatever noise Manickam makes in the present, is the echo from the past sounded by Baasha.
Eventhough Manickam is the narrator, we hear and see a lot about the puzzling character Baasha - a police officer gets shockingly surprised just by hearing the name Baasha; a news from a daily makes the existence of Baasha real; few characters change their behaviour when they hear about Baasha; and then, there is Baasha's foot steps surrounding the screen producing a sound effect to an image that is reversed by the order of lightness and lightlessness.
The first Flashback opens at the door step of the Office of Director General of Police :
https://img4.hostingpics.net/pics/356293FB101.jpg
When Manickam approaches the desk, the flash is revealed through the eyes of the warranted law employee of the police force, the first image of Baasha appear on the screen:
https://img4.hostingpics.net/pics/809410FB102.jpg
The dissolve is wonderful. There is a gradual transition from Manickam to Baasha and they both walk towards the viewers:
https://img4.hostingpics.net/pics/664839FB103.jpg
A series of images - standard negative pulldown for the film and run as a strip of four colour negatives mildly touched with green, red and blue - starts materialising randomly. Two images appears to be burnt and terribly destroyed illustrating the nature of the flashback:
https://img4.hostingpics.net/pics/147768FB105.jpg
https://img4.hostingpics.net/pics/611022FB108.jpg
Amidst the firing gunmen and wildly running crowd, Baasha emerges. Again, he is seen quickly approaching the viewer, a sort of communication established in every frame, and when he is closer, a headlines from a daily flashes on the screen, terminating the short flash episode :
https://img4.hostingpics.net/pics/324505FB109.jpg
https://img4.hostingpics.net/pics/506045FB110.jpg
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Baasha - The Master Script
The Movie Clock (part 2/2)
https://img4.hostingpics.net/pics/207195BaashaFB.jpg
The second flashback occurs inside closed doors, and the voice of Manickam is muted while Baasha walks from the right corner of the screen and disappears through the left:
https://img4.hostingpics.net/pics/626391FB201.jpg
The thematic interpretation is constructed to contrast the similarities and differences between Manickam and Baasha. Through a mid-film twist, the revelation occurs in the story.
The flash back episode, the core plot of the film, it is revealed why Manickam entered into a world of crime, as well as, explains why he choose to exit to become a commoner. Manickam becomes Baasha and Baasha become Manickam in the flashback which is loaded with a flash forward non-standard linear narrative within.
I have already spoken about how colours used in the film build a harmony or tension within a scene while addressing Kabali (2016). The use of colour brings attention without the viewer being aware. It secretly receives a reaction from the viewer. There are many ways colours can influence a story, either by setting a tone to the film or draw focus to significant details or even represent particular character traits.
In Baasha, Red is used to show the arcs of the story.
When his brother asks him about his past, Manickam shuts the door [Note: every flash occurs beside a door - at the DIG Office, inside the college correspondent’s office; door is used as a portal between the present and the past] Manickam shuts the door behind him as though he is shutting himself from reality. The director brings up the Flashback - Baasha: The Tears of an Emperor - by painting Manickam's face red:
https://img4.hostingpics.net/pics/303288FB301.jpg
https://img4.hostingpics.net/pics/848217FB303.jpg
The tale shiftily begins with the introduction of Baasha walking out of his mansion (A faded building brightens up as the footsteps of Baasha echoes around) :
https://img4.hostingpics.net/pics/377260FB403.jpg
The previous shown dark images turn into silhouette while sweeping through the screen:
https://img4.hostingpics.net/pics/995158FB404.jpg
https://img4.hostingpics.net/pics/749445FB405.jpg
Baasha is revealed and is seen walking towards the viewer:
https://img4.hostingpics.net/pics/949781FB408.jpg
The Baasha story is a tricky narration - a flashback narrated as a linear storyline in a non-linear film, which contains a linear sequence within the flashback. Anwar story drops in as a memory of Baasha bent down on one knee at the cemetery before Anwar's tomb. The discourse in the current Flashback (notably with Baasha and Antony), suddenly turns into a monologue while opening the Anwar episode, where Baasha speaks in First Person while addressing Anwar as though he is speaking with the viewer (another direct communication extended from the screen). Rapid introductions to Rangasamy and Baasha's family members are made while establishing the friendship between Anwar and Manickam. After the mishap, Manickam is seen knelt on his right knee with his left hand on his left knee in front of Anwar's coffin - a position similar to the posture taken by Baasha in the principle flashback narrative at the cemetery before the tomb of Anwar:
https://img4.hostingpics.net/pics/933920FB410.jpg
https://img4.hostingpics.net/pics/264926FB411.jpg
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Baasha - The Master Script
The Movie Clock (extended)
The flashback ends when Baasha fakes his death to become Manickam. The return to the present sees Manickam trapped inside his own past; shut inside a closed room flashed by a red light reminding him constantly his bloody path:
https://img4.hostingpics.net/pics/313373FB412.jpg
https://img4.hostingpics.net/pics/184688FB413.jpg
The Movie Clock starts to spin forward when Manickam answers the door.
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Baasha - The Master Script
Nilanjana samabhasam raviputram yamagrajam.
Chaya martanda sambhutam tam namami shaishcharam.
A blue cloud, the son of the Sun, is the foremost of control; the glorious Sun disappears behind his shadow. To Shani, the emblem of control, we bow down in devotion.
The Shadow of Baasha
https://img4.hostingpics.net/pics/333695Mk2Ba00.jpg
The female characters in mythologies are very powerful. Duality in personality appears in Skanda Purana, when illustrating the origins of Shani, the son of the Sun.
Suriya (Sun) is married to Suvarna, daughter of Vishwukurma (the weapons manufacturer) and granddaughter of Brahma. They had three children - Manu, Yama & Yamunadevi. Even though being a devoted wife and a noble mother, Suvarna could not bear the heat of Suriya and the brightness of her husband. She worked upon an alternate to face the brillance of the Sun God that could permit her to stay with Surya while bearing the glory of his rays. She created Chaya (Shadow) out of herself, a form of darkness caused by blocking the light. She designated Chaya to take care of her children, and through Chaya she shared the Sun God.
Chaya was her dual personality, physically coming into existence. Chaya had three kids with Surya - Badra, Shani and Tapti - before the Sun God realised that she was not his real wife (Suvarna). When Shani was born, revelations struck out the brightness of the Sun ... and no, this is not their story ...
Baasha created Manickam, his own Chaya (Shadow), that can freely crawl in the world among the burning chaos. He thought: As Manickam he can tolerate the disorder, turn a blind eye to all the crime and support his family - a mother, two sisters, a brother. Little did he know that during the darkest hour, Chaya fades away and only Baasha has the strength to face his ultimate nemesis.
While being Manickam, Baasha surfaces from time to time - either to exhibit the cunning thought process that is alien to Manickam but nimble for Baasha; or to issue an order to his team who lives disguised as commoners around him; or while tasting a pinch of his own memory where he recollects his father Rangasamy's last spoken words and visualises the double-crossing of Kesavan.
The first eruption occurs when Manickam is informed by his brother about the Police Enquiry. He turns away, his mind working as Baasha threading the needle:
https://img4.hostingpics.net/pics/820054Mk2Ba01.jpg
Kesavan's gang comes in search for a lost diamond thinking that it could have been thieved by Manickam. Retaining him, at the same time ordering his men to stay focused on the work of impersonation, Manickam allows the goons to frisk him. But they don't stop there; they tear down his vehicle that fetches his food for living. Baasha jumps out of Manickam for a brief moment, but is quickly subdued by the memory of his father's will:
https://img4.hostingpics.net/pics/672665Mk2Ba02.jpg
Manickam warns the college correspondent by revealing the unseen:
https://img4.hostingpics.net/pics/704281Mk2Ba03.jpg
Manickam watches Kesavan by the roadside. His face pounds with familiarity when Baasha recollects the inexcusable act of Kesavan:
https://img4.hostingpics.net/pics/993260Mk2Ba04.jpg
When his brother indulges in a brawl with the local hooligans, Manickam intervenes and accepts to take the punishment from the mobster on behalf of his brother. While being carried away to be beaten-up, Manickam informs his obedient companion in Baasha's way to fall back:
https://img4.hostingpics.net/pics/596729Mk2Ba05.jpg
The mobster is back. Manickam stops his attacked sister from falling. When he sees her blood, Manickam slowly starts to fade away:
https://img4.hostingpics.net/pics/961898Mk2Ba06.jpg
The transformation happens when he takes a brief walk towards his brother, who is battered on the floor. He hears a knife snap behind them when he helps his brother to get back to his feet. He asks his brother to move away to safety. When his words go unheard, Baasha takes over Manickam completely as he orders his brother with rigidity to get back inside the house:
https://img4.hostingpics.net/pics/281551Mk2Ba07.jpg
Baasha is seen in his fullest form when the darkness surrounds him fading away his own shadow Manickam:
https://img4.hostingpics.net/pics/917526Mk2Ba08.jpg
Manickam as Baasha:
https://img4.hostingpics.net/pics/315990Mk2Ba09.jpg
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Baba - Mark of Maya
https://img4.hostingpics.net/pics/801638Baba00.jpg
To him who is high-minded,
These teachings will be illuminating.
- Shvetashvatara Upanishad
https://img4.hostingpics.net/pics/364773Baba16.jpg
Maya is that which is not. It does not exist and never has existed. In the ego mind, Maya acts as an instrument by hiding the Truth.
According to Saint Kabir Das, the mystical poet of the fifteenth century, the Truth he experienced is:
In that state there is no air or water,
no creation or creator,
no bud or flower,
no fetus or semen,
no education or Vedas,
no word or taste;
no body or settlement,
no earth, air or space;
no guru or disciple,
and no easy or difficult path.
https://img4.hostingpics.net/pics/205004Baba11.jpg
Maya actually gives forms to everything that hides the Truth. It operates using two power sources; one, to viel the mind; two, to project what it wants to see. While veiling happens to the Atma, the projection is made to the Jivaa; thus, manipulating the sensory data - eye, ear, nose, tongue, body and mental consciousness. Maya halts the Self to get its consciousness upgraded and stops it from achieving the deluded awareness. Maya interferes in the promotion of the mind to Eighth Consciousness, the highest state of awareness.
https://img4.hostingpics.net/pics/621560Baba04.jpg
Atma, the soul and Jivaa, the life stream, must be in united state. When asked about God to Sai Baba of Shirdi, the Spiritual Master spoke:
You need not try to bring God and man together, they are already together naturally - Jivaa Atma. But what makes them separate is the ego, the false 'I' form of Maya.
https://img4.hostingpics.net/pics/522180Baba05.jpg
Naradha, the eternal form of consciousness, spoke to Lord Krishna, "I have wandered from Heaven to Earth. I have gathered all knowledge. But my Lord, what is Maya?"
Lord Krishna knew that Naradha is a True Being. His question was True, as he has experienced only Truth. The Lord hesitated, as to understand Maya is to understand an entire life - the cycle of birth & death. Seeing the thoughtful Master, Naradha asked, "Can you enlighten me by breaking the secret of this magic called Maya."
Keeping the devotion of Naradha in his mind, the Lord smiled and said, "Yes. Let us rest in the shade, and I shall apprise about Maya."
Naradha silently sat before Lord Krishna waiting for his Master to shine down wisdom about Maya on him. They were in the middle of a field under the shades of a tree. In the single beat of his eyes, Naradha heard the Lord breaking his silence, "Naradha, I am thirsty. Can you fetch me a glass of cold water please?"
https://img4.hostingpics.net/pics/829004Baba17.jpg
Naradha immediately got up and walked into the fields in search of water - the task given to him by his Master. After getting away from the correct path, Naradha turned in circles of confusion under the scorching sun. The heat was too much for him to bear, and a single thought gathered in his mind as sweat moisted his body, "Let me ask for two glasses of water. One for the Master, and with the second I shall quench my thrist."
https://img4.hostingpics.net/pics/581313Baba15.jpg
As soon as his mind was veiled by the thought, Naradha saw a hut at a distance.
A beautiful young lady responded to the knocks of Naradha and opened the door. Naradha became speechless when he saw her smiling at him. Completely engulfed by her charm, Naradha could only ask for her name.
"Maya", she replied.
Seeing Maya, his mind forgot his task and his body's need for thirst vanished.
"You are so beautiful", Naradha did not hide the truth from her and proposed her, "Will you marry me?"
The couple settled in the same house. Naradha happily told his wife, "Being a husband is the best thing that can happen in life."
After few years, they had children. Naradha happily told his wife, "Being a father is the best thing that can happen in life."
Naradha worked hard for his family in the fields. His only aim was to take care of his wife and children, and for that he was ready to sacrifice anything. His family became his life. Naradha happily told his wife, "To have a family is the best thing in life."
Years passed. His children grew up, settled in thier own life and had thier kids. Naradha grew older and happily told his wife, "Being the grandfather is the best thing that can happen in life."
https://img4.hostingpics.net/pics/496924Baba06.jpg
At that moment, a flood hit the area drowning his fields and immersing his house in water. His cattle were washed away in the strong current. He lost all that he had earned his whole life. The flood did not stop but kept on growing violent. At a point, Naradha became helpless and could only watch his children, grandchildren, his beloved wife - his entire family - being swept away in the flood. Unable to stand the horror, Naradha, after many years, finally yelled, "Krishna! Krishna! Save my family, take me instead."
https://img4.hostingpics.net/pics/200114Baba07.jpg
Naradha opened his eyes that tasted the cool breeze. He was sitting under the shade of a tree empty handed and before him was Lord Krishna looking at the fields. The single beat of his eye seemed as though years had passed.
The Master turned and smiled gently at him and asked softly, "Naradha, where is my glass of water?"
https://img4.hostingpics.net/pics/598256Baba10.jpg
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Baba - Room of Mirrors
"God! God!" they cry,
Till there forms a callus on their tongue.
If saying God gave liberation, then,
saying candy made your mouth sweet,
saying fire burned your feet,
saying water quenched your thirst,
saying food banished hunger;
Then, the whole world would be free.
- Kabir Das
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The divine child walks into a Room of Mirrors. Everywhere he looked, he saw his own reflection. The divinity inside him allowed him to create himself using his own reflections. On one mirror, he drew a mustache, on the other a beard. He kept on altering himself by playing with his own images. Finally, he created his own demon by decorating himself as a fiend; thus, stuck inside the Room of Mirrors playing with his own reflections and forgetting the reality. He trapped himself with the other selves that he had created for eternity without gaining realisation - He became what he thought.
Sai Baba of Shirdi says, "Dust if you think, dust you are. God if you think, God you are. Think God. Be God. You are God. Realize it."
Inside the Room of Mirrors, the divine child Baba undergoes four states of consciousness before getting absorbed back into his native state of being unreflected.
When we first witness Baba (played by Rajini) on the screen, he is seen having his eye shut tightly. In this posture, The Waking State, Baba becomes aware of the quotidian - The Outward Knowing - becoming conscious when he opens his eyes (and watches the watching audience).
[The director of the film, Suresh Krisnaa, immediately establishes a direct communication with the viewers, by calling for a Bird's Eye View camera angle for the opening shot, making the audience as the Devine Watcher of the Devine Child.]
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Baba enters into the Room of Mirrors, creating himself anew with his own reflection. Even though Baba is a non-believer, his divine knowledge is inborn. Whoever he creates himself to be - a truck driver, a laborer, a leader whose primary activity is to protect, a lover, a son, a friend, an alcoholic, a chain smoker ... etc - Baba got the ability to design his reflection as anything he wishes on the mirror - the divine knowledge cannot be subdued.
Baba enters the second state while lying down on a cart on the roadside. Baba enters into his vast subconscious mind.
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[The Cry of Violins is absolutely brilliant. Hats off ARR. The vibration the string instruments bring creates a sort of intervention - something that knocks the doors of the mind. The director, again, goes for a Bird's View camera angle, as though the intervention is happening from above. While showing the experience of Atman (the soul), the director never fails to draw a parallel with the Jivaa (the body) through a sensory organ – Baba’s ears triggers the state. He visually captures the transformation in a series of skillfully angled shots. Hats off Chota K. Naidu]
In this state, the Dreaming State, Baba looks inside himself - Inward Knowing. He confronts with his own wisdom and subtlety which is as big as an elephant. His Jivaa (body) experiences many different levels of existence due to the activity of Maya.
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[The director beautifully portrays Pravivikta (subtle) & Taijasa (burning) during Antah Prajnya (Inner Knowing). Baba is in a dream state with his eyes wide open. By invoking his inner knowing, his body reacts with a mysterious hand gesture. Wisdom is blessed on him by a temple elephant. Finally, the burning - he wakes up when the cigarette bud kindles heat around his finger. Hats off V. T. Vijayan]
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When Baba ejects himself from the Magic of Maya, he paints a demonic self to his reflection while walking out of Chamundeeswari 's (played by Manisha Koirala) house.
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Seeing him turning himself into something that he is not, the Messenger intervenes.
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[This is an iconic shot called by the director, a cult scene in its own right, my favourite. This single shot hold volumes of informations. There are tons of cult shots in this film. Hats off Suresh Krisnaa]
The Messenger pulls Baba out of the Room of Mirrors and guides him to experience the third state - Deep Sleep (Sarva Jnya, the Knower of All), a state where underlying ground of consciousness is undistracted.
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Baba realizes Karana Sarira (The Causal body) - The innermost body that veils Atman (True Soul). Baba meets Maha Avatar Babaji who is (*beleived to be) the origin and dissolution of created things.
[*Disclaimer : Mappi & Religion, oil and water. No mixing.]
Baba returns. Every instance in his life seems to be a dream when the three states - Outward Knowing, Inward Knowing and Deep Sleep - make him transcends to the fourth and final state - Turiya, Pure Consciousness.
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[The Black top resembles that of Kaala's Kurta (Kaala is a forthcoming film directed by Pa. Ranjith starring Rajini in the lead role)]
After few trail and runs, testing his own Self according to the both absolute and relative, Baba experiences the true state of Ananta (infinite) and becomes free from the dualistic experience which results in him smashing the Mirrors in his Mind and permitting himself to walk out of the Room of Mirrors and embrace Vipalka (The Supreme Reality).
Baba knocks down all the Layers of the Mind and becomes Superconscious.
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Baba - Politically Spiritual
Let justice roll down like waters and righteousness like a mighty stream.
- Amos (Book of Twelve, 3rd Book)
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Whenever I look at the above citation, it makes me to think that Politics and Spirituality move concurrently. It forces me to accept that a political party, in a wider sense, is a Religion by itself. Just like the Prophets, the Politicians have people following them waving flags and raising slogans. There is a sort of attraction these religious members (political party workers) attain when they are closer to their Leader and drown inside immense satisfaction when they call themselves belonging to a certain sect (party politics) who don't share a particular or individual view but energize themselves to believe in a standard collectiveness, sometimes communal and other times based on community. [How they attain this commonness rests over a vast area of ideology, thus, shall be left unattended inside this write-up about Baba-The Film.]
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'Our journey is just beginning', said Moses, a phrase applicable for a Preacher and a Politician.
Our own Lord Jesus Christ brought a social change when he supported prostitutes and sat with lepers. Our own Messenger Prophet Muhammad insisted that human beings stood radically equal - 'As the teeth in a comb' - overthrowing the Arab tribal bonds. Our own Guru Raghavendra shed upon us the illumination by stating, "Social work done for worthy of the people should also be considered as the Lord’s worship."
All the prophets were a stranger in a foreign land. They possessed distinctive qualities showing divergence in the prevailing inheritance system and established a new line of thoughts that were contrary to the laws and customs of society during the predominant social strata. They held rallies, gathered people for a common cause, led them towards equality, fought for civil rights or raised voice against injustice, racism, materialism, and militarism.
Rabbi Heschel (Abraham Joshua Heschel, 1907-1972), the Jewish theologian, announced that church and synagogue were forbidden as long as African Americans were treated as they were.
Very far from 'Finally', Thomas Merton's (1915-1968), a trappist monk of the Abbey of Gethsemani, statement is indeed very political when he registered, "The world is full of great criminals with enormous power, and they are in a death struggle with each other."
There is no thin line between Spirituality and Politics. They both are mingled Spirits.
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Just by giving names to the rivers, they are no different. The tiny stream of flowing water joins the mighty ocean, not because it got a name, but it is its true nature. Similarly, a Master or Guru or Saint or Prophet or Messenger or Mystical or Monk or Enlightened One, etc., however different they are addressed, they are the Ones who have unified the Atman and Jivaa into Oneness, and continued living as a Being until their judgment day that occurred according to the Laws of Karma.
Baba is one such Being, who even after realisation continues to be the mantle of purpose.
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[The shot size elegantly varies during this scene - the medium shot slowly zooms while sharpening on the main subject (Baba) and the camera motion is halted while shifting the shot into a close-up capturing the facial expressions of Baba]
Baba is considered as a 'Leader of the People' by the members living around a tiny locality. He indulges in a petty quarrel with the son of a Minister, which gets escalated high along the chain of command. Even though the problem is solved amicably, the ego of the affected group intervene in Baba's life twice again, creating a turbulence of change in Baba's materialistic life - One, it takes away his beloved mother from him, Two, it makes him alter his ultimate decision.
After the inconsequential dispute ends, Minister 'Ippo' Ramasamy (played by Riyaz Khan), gaurds his enmity with Baba warm inside his head. During the first encounter with Baba, he accepts defeat by praising Baba before his members, but he also meticulously spins himself like a snake around Baba's feet waiting for the opportunity to inject his venom into Baba's vein.
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(Nandri ... Mikka Nandri)
It’s always a wonder how the doors open automatically for the Evil without being knocked - 'Ippo' Ramasamy receives a direct order from the highest in command to take down Baba.
After realisation, Baba has to fight within himself to channelise his actions. It costs him his Uncle's (played by M.N.Nambiar) life to make the right movement between his thought and action. Baba reforms as a Physical Being.
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As soon as Baba determines the direction of his thoughts to flow into proper action, he is quickly surrounded by danger just like the rushing grey clouds blanketing the blue sky. Purushottaman (played by Bharathimani), the Leader of the Social System, cunningly manipulates Baba to support him. When Baba refuses, Purushottaman seeks the assistance of 'Guruji' (played by Amrish Puri), who deals with techniques and rituals including meditative practices according to esoteric traditions, to demolish the divine child and consume the mystical power inbuilt in the biological system of Baba.
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Sakthi Kodu Song sequence is the most direct appeal made by Rajini through a film. Even though the character Baba, seeks the blessing of the Godess Kalikambal to shatter the Evil that has taken over the world, as Rajini, the actor enters into a monologue conversation with the viewers.
His body language during the entire song suggests many possible components that he efficiently uses to communicate with the viewer. He constantly induces various styles portraying handshakes, salute, waving, facial signals, nods, making a fist and pushing it up in the air, etc., each creating a growth, success and togetherness.
Rajini spreads his arms and walks directly towards the audience inviting everyone for a warm hug.
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The director, camera-man, editor have worked out the possible ways to make it look like Rajini is conversing with the audience. The director makes him move through a defined locus, either being closer to the camera or approaching towards the camera. The focus plays a terrific job of blurring the objects denoting God, which are deliberately positioned every time nearer to the screen, further from which Rajini is moving around.
The way they have picturised the fire element represents a situation (read year 2002), where Rajini opts to be a savior and vows to make measures tending to the betterment of the condition of the people. He communicates that without the support from crowd (seated) in front of him, it will become impossible for him to bring the needed change. It is shot in such a way that it’s not a manifestation, but a promise.
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During the intro of Rajini, the camera arcs around him. During the song sequence, Rajini circles around the camera making him covering the entire screen. The director is generous in using colours, painting Rajini’s face with tri-colors to punctuate impartiality. During the closing of the song Rajini looks directly above his head while continuing his discourse, placing the audience higher above him.
Rajini relates the You & I factor with an efficient hand gesture pronouncing a sincere and graceful salutation.
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1 Attachment(s)
The War of Colours
http://www.mayyam.com/talk/attachmen...0&d=1531042973
Disclaimer: The information shared inside this expository is fictitious, written for entertainment purpose only. They are purely the imagination of the author. Any name does not point to any person living or dead and any resemblance to reality/history is purely coincidental. The author firmly states that there are no unwittingly or carelessly or without any deliberate or malicious intention to outrage the religious feelings of any class while interacting about the cultural system. The author's intention is not to hurt any feeling or provoke any sort of misguided emotions. Keep fiction, a fiction.
Part I of V
About 8500 years ago ...
A Perfect Society
Manu stormed down Mount Meru. He was closely followed by seven men who resembled their master. There was an absurd feeling inside Manu about his own strides. He found himself walking with anger, fear, desperation and urgency; his feet crushing the rocks into sands. Random thoughts rose like ocean waves inside him when he flew into the town he vowed not to step into again. He walked quickly over the dimly lit lane towards a huge building made out of gold and silver. Over the pavement under the shyly burning street lamp, he witnessed a couple having sexual intercourse. They seem not to mind the dog barking beside their cane bed, nor disturbed by a child who sat on the floor beside watching the adults in action. Raising his meditation stick high in the air Manu slapped the naked butt of the man. Manu did not wait to listen to the loud cry of the man, but continued walking cursing under his own breathe - Why can't the King culture his baboons? "Ha", Manu snapped at himself, "He never tried. He ever succeeded."
The soldier entered the large room. He hesitated a bit before announcing to King Rajasimha the arrival of Manu. Rajasimha neither lifted his head, nor uttered any audible words. He just grunted out his disagreement, an order mixed with anger and arrogance. The soldier immediately ran out and informed Manu that the king was busy, so shall not receive him today.
Manu slapped the face of the soldier with his meditation stick and with at most urgency kicked the throne room door with this left leg. Rajasimha, who was being serviced by eight naked women, was at his maximum heights of pleasure when he was disturbed by the noise of the huge door shattering into thousand pieces. He lifted his head and saw Manu approaching him fiercely. The naked ladies around the king stopped working and looked scared at each other. The King ignored the arrival of Manu and forced his eight slaves to continue their awesome service.
"Rajasimha", growled Manu, his tone trembled the roof of the palace, "Behave like a king. Be a King. Your kingdom is in danger. I order you to save your people. Listen to what I have to say and these lands shall be saved."
"What order?" wondered Rajasimha loudly while adjusting his golden threaded loin cloth around his testicles. He got up and lifted the piece of white cloth hanging between his laps, exposing his cojones enveloped inside the loin cloth. Showing all signs of dominance both in action as well as on his face, he spoke to Manu, "This is a free country. Anyone does whatever he prefers to do. You are here because you want yourself in here, isn't it? Who breaks the door of the throne room other than a barbarian entering without the King’s will?"
"Remember", the king continued while circling around Manu, "You were the one who abandoned these lands not happy with my leadership. I still remember you describing me and my people as baboons." Looking at the seven disciples standing behind Manu, Rajasimha snicked, "Now, with a group of monkeys from the mountain, you have broken the same door through which you vowed not to return. Who is uncivilised here? I thought sages were men of their words!"
Manu controlled his anger between his teeth. He knew there was no time to argue. He spoke urgently but firmly, "The anger mouthed waves are going to feast over the land. If you don't do something about it immediately, your dynasty cultivated by well mannered and intelligent ancestors shall see its end due to your incompetence as a ruler. Don't be blinded by lust, greed and arogance. Save yourself. Save your people. Save these lands from the flood."
Rajasimha laughed loud and spoke, "This is the land of Gods built on gold and silver. No flood is going to eat these metals, as you may worry."
Manu without saying another word rushed out of the throne room. He was closely followed by his seven disciples. He sat on the floor outside the King's palace; anger fuming out of him. One of his disciples touched his shoulders and got his fingers burnt. He withdrew his hand quickly and asked, "My lord, what shall convince him to see threat that shall proudly announce its claim over these lands?"
Manu looked around at the orderless society where undisciplined crowd roamed around under the influence of stupefacient. He spoke softly, "What difference will it make to a man with vision and a visionless man inside a lightless room?"
Manu got up quickly and ordered, "All these people are fools, but some have gained the ability to think for themselves. Go immediately and find those. Gather who are willing to build a new world. We need architects, wood cutters, rowers and workers. Those who shall follow you will be saved."
"I am going to build a floating vessel. A large one", Manu asserted pointing at the south sea port, "The waves at the speed of the horses will gallop towards the sky. We will ride over the waves and sail towards the north. We will be prepared."
Manu along with the assembled group of bright people built a large ship. To help distinguish the people assisting him to construct the vessel, he asked his seven disciples to distribute coloured cloth belts to everyone according to the assistance they provided - white for the intelligent architects, red from the muscular rowers, green from the tireless wood-cutters, and black for the labourers who provided food for all.
The flood extinguished its anger over the kingdom. It swept away any visible land drowning the entire empire under the ocean. Manu's ship floated over the water and was forced upwards. Every path the sea water took over the lands, Manu's ship managed to stay afloat and finally when the anger of the waves subdued, Manu's Ship stuck on an unknown land with enormous vegetation.
Manu climbed down the ship and quickly climbed up the nearest hill. He walked enthusiastically as not only his plan had worked, also that, his whole crew had landed safely. From the top of the hill Manu surveyed his new settlement. There were seven rivers flowing across a vast fertile land; the path created by the flood allowed the mother source to travels to her destination, the oceans. "Nature in its own will", Manu smiled to himself.
Manu descended and instructed his seven disciples to write down the instructions on healthy living practices for the survivors to happily lead their day to day life in the new found land.
"A perfect society", Manu’s faced brimmed with pride when he spoke, "that shall never perish. "
"We shall no longer address ourselves as Pandya", Manu ordered to his seven disciples, "From now on we call ourselves Pandits. We have to erase our sins committed through arrogance by burying the past. The cursed civilisation never existed. We will abandon speaking our mother tongue, the sweetest language. Sanskrit, a form of sounds that I dreamt while sleeping shall be the language of the Pandits. Announce to these people the new language of the Gods and assure them that they are the gifted ones to wander over these new fertile lands."
Manu walked among the new citizens of his new world who wore coloured dress according to the assistance they provided to the settlement. He admired them being educated with his new principles by his seven disciples.
"My tribe shall grow and make this land a civilised and cultured place", he thought to himself confidently, when he came across a blind and aged man carrying a sleeping new born on his right shoulder. Intruded by the stranger’s aura, Manu enquired about the child's parents to him.
"He is my Father and I am his Son", the aged man replied
He looked straight into the brimming eyes of Manu and said taping the baby's back gently, "What you have accomplished today shall cripple Him someday. Your fixation towards colours shall paint a perfect society, a community built on lies. Let the people be what they are and not what you want them to be".
Saying so, the aged man carrying the infant disappeared into the rejoicing crowd.
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1 Attachment(s)
The War of Colours
http://www.mayyam.com/talk/attachmen...1&d=1531051746
Part II of V
About 6000 years ago ...
Born to Rule
"His Kingdom has fallen. His Kingdom has fallen", the innocent kid jumped enthusiastically while running around the blind man. There was no emotion on the aged man's face. While bouncing in joy, the kid hurt his toe ripping off the nail. The happy child fell on his buttocks and started to weep. His guardian seemed disengaged even after hearing the crying child beside him.
His eyes without eyeballs moved to the right. A man was getting down from the golden chariot. Glowing under a dark skin, the man rushed to raise the fallen kid.
He looked at emotionless face of the man beside him. The glowing man smiled at the disoriented man and asked while wiping the tears from the cheeks of the child, "You don't seem to be happy with our victory?"
"That's not victory, My Lord", replied the aged man. His eyes were blank while he spoke. Curious, the glowing man requested the sad man to explain himself.
"Your fascination towards the colours will doom the future of these lands", the man replied while taking back the kid from the glowing man. Placing it on his laps he continued, "You are a good person Lord Ram but this victory is not over the evil. The evil is within, as you may know it very well."
Lord Ram waited without countering the aged man. "You fought for the land. You wanted your empire to grow more. You wished to enhance the methods instructed by Manu. You have adjusted it to your convenience. You sent out for the tribes welcoming them to join you. All you asked to them in return was to obey the laws governed by four colours and give their land to your kingdom in return to live in a perfect society. The contented tribes saw you as their saviour, but did not know that you took their land, all the while growing your empire. Your sweet talks made them think they are free, but they worked hard for you following your laws, so that you can call your society as perfect. They never lived for themselves, not even on the land that rightly belonged to them."
Lord Ram took all the accusations inside his smile. The aged man continued, "Descending from the north, you wish to capture the last piece of land that resisted your governance. Very well knowing that it is the only trace to origin of the humanity that somehow survived the murderous flood, you wanted to be called as the first civilisation by capturing it, thus erasing the past. When its ruler refused to abide, you played with his weakness. You slayed him and became the owner of the entire land."
"How could you say so much? Matters that I myself never realised? How do you know?" Lord Ram questioned genuinely.
The aged man looked at the child who was now fast asleep on his laps. "My father, My Lord", he replied, "He speaks to me in his sleep."
Lord Ram got up and with his head hung low he started to walk to his palace, followed by his golden chariot. He called upon his brother Bharat as soon as he reached the palace.
"Without my will my actions turned to sin", he spoke to Bharat with heavy eyes. "Even with vision, I needed a blind man to bring me on to my path. I am not born to rule these lands. You shall govern them under the guidance I shall pass on to you."
Bharat was shocked to hear his elder brother talking in agony. Before he could deliver his objection, Lord Ram continued, "You will rule these lands under one law - the law of equality."
"Every new born shall receive the same set education and treated same in status, until they prove their worth when they grow up. Accordingly the Empire will place them under white, red, green and black colour jobs. These rankings shall merely be based on Karma, by their actions and not by birth. If they do well they can become someone entirely new. If they show leadership qualities, they shall serve the Empire as secretaries. If they portray strength, they shall become soldiers ready to serve the people. If they are intelligent, they can become merchants attaching the lands as one through their trade. If they are patient, they shall be provided with lands where they will work to feed the whole nation. At no cost, these baselines of colours should be driven by birth. A farmer’s son can become a doctor and a minster son shall work in the house holds."
Saying so, Lord Ram left the palace and never returned. Bharat could only watch his brother disappear beyond the door.
Bharat, the land named after the man who ruled it, flourished. Bharat, the ruler of an emerging empire, introduced several structures within the society, the major one being the laws governing the lands. Free men produced in the lands owned by them, and the government bought all the final products. It then distributed it to the ones in need or used it during famine. The choice to choose the social colour was given back to the infants based on their talents and not by birth.
Bharat stood as an example for a Perfect Society until corruption slowly crept into the veins of the land. The White, the Red, the Green and the Black which stood for equality in Bharat started to see each other as an individual division separated by superiority according to the tasks being carried out by respective groups.
Five versus Hundred
About 5000 years ago …
They battled for land when the final negotiations headed by their uncle Kresna resulted in vain.
"All I ask is a village; each for the five brothers", Kresna had requested and a hundred nods came as disagreement.
In the middle of the battle, Kresna explained his nephew Arjun who had refused to fight his own kith and kin :
When you are born you are a discoverer. You wake up unilluminated as dark as the dirty feet. You are Black.
When you are grown up you are an understander. Education applied with good principles, turns you viridescent. The laps that are as strong as the climbers carry to far lands to gather knowledge. You are Green.
When you are an adult you are stronger. You shine scarlet following the pure colour of the heart under your broad chest. You are Red.
When both your body and mind are magnified you realise. You are blank as you have the answer for existence. You are white.
You are, thus, my child, enlightened.
The words of Kresna cleared the dark clouds roaming in Arjun’s mind and brought him back to his feet. His strong laps supported the weight of his heavy soldier's body. His head became light and his dark visions cleared. With his broad chest he dashed into the war field.
The Five won the battle over the hundred and became the princes of the entire land. They ruled the lands with what their uncle had preached to them. But somewhere in the distant future, certain Pandits will want to achieve the supreme height in the social pyramid overshadowing the Empire itself; the history will be falsely rewritten. The colours governing the society will stumble, and, Pusan, the nourishers of the world who wore black, shall be called Shudras. The definition of a perfect society shall slowly be divided into duties. The initial laws written by Manu about 3500 years ago will be revised by the Pandits.
The wound in the child's leg worsened. The infection spread up to the knee turning the right leg ink blue and making the kid unable to walk. The aged man carried the child in both his arm. Looking at the blind man struggling to carry a heavy child in his arms, Kresna asked him if he could provide any sort of assistance.
"It's not us My Lord", predicted the aged man, "but these lands need your assistance. Time has been seeing that lies have crawled all over crippling the truth. What you stood for shall weigh over the future of these lands. Tricked, people will be tortured. These lands will no more belong to the righteous, but to the ones who have the power to take them by force."
Kresna smiled and spoke gently, "I am aware of it. Be assured, whenever a threat may arise to the owner of the land and there is exaltation of unrighteousness, then I myself come forth."
Pointing at the sleeping kid, Kresna said, "Manu and then several who had come before me, and when the blind and the sighted walk hand in hand, another shall come. Do your duty. Keep him safe as when I rise HE shall walk again."
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1 Attachment(s)
The War of Colours
http://www.mayyam.com/talk/attachmen...2&d=1531079074
Part III of V
About 2500 years ago ...
The Great Departure
Bharat became the land of immeasurable light. Prince Siddha living in any of the three palaces built by his father led a very grand life. Ministers with white turbans saluted him every morning. Soldiers in red uniforms guarded him round the clock. Merchants with green turbans gifted him with fabulous items from around the world. He was always surrounded by shirtless workers providing his any needed support.
Siddha’s four encounters with human life on the lands ruled by his father transformed him into someone else.
Siddha saw a fragile man lying naked on the pavement and his black garment dancing in the breeze beside him. The man was sick and was suffering. Few steps away, he saw a man in green tops selling medicines for a hefty price. He turned to look at the commotion behind him and saw his soldiers in red uniforms driving away few people brutally. Filled with lot of thoughts, the major ones being - Why don’t anyone help each other, at least during the time of need? - Why wealth so important than life? - Why do people treat their fellow being like a savage? - Siddha unknowingly took the route to the jungles impressed deep in his thoughts. Reaching the forest area, he saw a man dressed all white siting with his eyes closed under the shade of a tree. Calmness hit Siddha’s face. The mere presence of the White Sage eased him from his painful thoughts. Siddha turned and rushed back to his Palace.
"Father, I don't understand", he spoke to the king once he reached the palace, "Why is there so much sufferings in our lands, when you claim that our rule has created the perfect society."
"Siddha, my son, you will understand when you take up this throne. The indicator for a perfect society is not the wellbeing of its population. We create laws and rules to govern these lands and none is either below or above this law. One shall produce, another shall sell. One shall protect, and the other shall govern. That is a perfect society when each individual understands and plays to his strength."
"But Father I see poverty; those people being supressed and chased away with nothing to own. How shall they continue to live? Its not they who willingly suffer, but they are made to suffer by the laws that govern these lands, of which they are the owners too."
"Poverty is in their making. The society has given them opportunities and cannot be blamed. Thus the sufferings are their own. It’s Karma. Their actions made them what they are."
"In that case, I shall teach them how to detach themselves from Karma", Siddha said firmly.
Siddha walked out the palace and never returned. He roamed the lands looking for answers. After unfruitful results, he realised that the answer was within him. He sat under a tree with his eyes shut. Blankness overtook his thoughts. His wandering mind settled into calmness. He was able to see even with his eyes shut. He reopened his eyes.
Siddha shared his wisdom to the world. And he was called Buddha since then.
Buddha’s teachings, as bright as his white garment, cleansed the lands. Equality that was covered in debris exploded out into the world, until territories started to expand and new tribes fought with each other over for the lands which rightly did not belong to them.
"I saw you seeing us fleeing from the market place when your soldiers chased us away taking us for beggars", the blind man spoke to Buddha. A teenager with canes under his arms was standing next to him. His right limb was cut off up to the knee. "The law book of Manu focusing on karuṇa (compassion), abhyasa (practice), jnaana (knowledge), and upadesa (teachings), now serve as misguidance to this society", worried the aged man, "as class governs who shall own these lands. The minority are considered unfit."
Buddha fell to his knees before the blind beggar and the handicapped boy. "I cannot set the wrong right. But I shall see that no wrong shall happen again by being a cognizer of the truth and teaching them all correctly. None shall be binded with views, nor shall be blinded to fall in the empty, hallow and false.". His sincere words thundered above, and showered below.
The aged man face widened with a satisfied smile while Buddha got up and opened his umbrella. Buddha walked away taking the blind man and the limping teenager under the shade of his umbrella.
About 2000 years ago ...
Kingdom of Heaven
Constantine was lying on his death bed. One of his trusty entered carrying two fat materials in his hand.
"You were right my lord. He did not die on the cross", his associate spoke softly into his ears that made Constantine shut his eyes tightly. Tears flew down and wetted his pillow made of feathers.
The appointee hesitated and then continued, "The physical existence of a land called Indu across the river Indus is true. Our fore fathers originated from there."
Taking a deep breathe the trustee announced with a heavy heart, "It is His homeland too and He is buried there."
Constantine, the founder of the Church based on the principle of His resurrection, whispered, "This land shall be known as India in our documents. The Church must reach it and Greek must acquire its full control."
"Thoma had already reached the south" interrupted the trustee.
"Thoma’s preaching must be nullified and the gospels destroyed", Constantine closed and reopened his eyes, "Did you find the other material that I believe existed?".
"Yes my lord", saying so Constantine's associate read to him the Laws of Manu.
Constantine spoke softly but firmly, "These lands need a religion. Being separated by different beleif, everyone should be united by this single religion, The Religion of the Church, thus, the Greek shall rule the entire world on the laws of the Church. What I tell you now based on the preaching of Manu shall be its Bible."
The man from Nazareth answered the shepherd boy, "I was born here. I am happy to have reached my motherland".
While addressing the small crowd gathered in front of him, he saw an aged man supporting a young adult on his shoulders. Yeshua walked past his audience to greet the blind man. He helped the old man and his companion to sit on a rock along with him.
"I am just a messenger", the blind man wept when Yeshua made his sit close to him on the platform.
"Very truly I tell you, no master is greater than his servant, nor is a messenger lesser than the one who sent him."
"I am glad that you have finally arrived here", the old man spoke while the teenager slept leaning over his right shoulder, "Mass migration due to several reasons, notably frequent attacks, inequality and famine, have resulted in several dispute. The powerful crush the weak under their feet. The righteous crawl over the land that is owned by the vainqueur who rules them with a new set of laws that favourises his rule."
"Light shall shine out of the darkness making even the blind to see the Light of Knowledge shining in their heart", Yeshua spoke softly assuring the old man, "I have sent my disciples to twelve corners of the world. They will come preaching peace making groups into one by breaking the barrier of the dividing wall", assured Yeshua.
Turning to his audience the man from Nazareth spoke, "If you really keep the royal law found in the Manu Scripture, love your neighbour as yourself. But if you show favouritism, you shall be convicted by the law as lawbreakers. There is neither Jew nor Greek, there is neither slave nor free, there is no male and female, for you are all one."
Years ran like rivers down the steap hill. War on religion took over the world. Every tribe tried to became an empire forcing the weaker ones to follow their faith. A new threat called Colonisation emerged in that chaos over the land. The accusation of lands by the colonial powers using international law pulled the natives far below their own lands.
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1 Attachment(s)
The War of Colours
http://www.mayyam.com/talk/attachmen...4&d=1531086448
Part IV of V
[Illustration taken from 'Pathan : Path of a Prophet' (a standalone written by mappi - 2017)]
About 500 years ago ...
The Company
The British East India Company arrived in India in 1612. They traded with the territories that were divided into Empires - the Kingdoms of Gwalior, Indore, Bhopal, Dewas, Amjhera, Ratlam, Sailana, Sitamau, Narshingarh, Jaora, Udaipur, Jhalawar, Kota, Tonk, Baroda. They, then, settled as Rulers by conquering each individual empire and annexing them all into one nation between 1612 and 1947 trying to create a Perfect Society. During the Company's, India, name given the Greek several centuries ago, was commonly called as British India in sea trade routes controlled by The Company and was officially known as Colonial India.
During the Company’s reign, the Imperial names changed several times according to the expansion of Colonial India : East India Company (1612–1757), Company rule in India (1757–1858), British Raj (1858–1947), Princely States (1721–1949) and finally as India after the Partition that happened in 1947.
The main business of the company was forcing the land owners to work for them on the lands owned by them. It decided whom to pay and how much to pay. The owners of the lands worked as salves on their own land. The Company introduced Kangani system that allowed labor migration, thus, the people lost all the records of owning any lands and became permanent workers of The Company.
Exploiting the already present division in the society, The Company started to use it for its own interest. The workers were mercilessly trashed to the sewers of the society making thier life miserable while the other three colours profited from what the blacks produced. Several white turbans joined hands with The Company and using the green shirts to exploit the lands and the red uniforms (British soldiers) abducted the lands by force. They made immense profit. When a worker was not willing to part with his land, he was tied outside his village and beaten to death. His corpse hung for several days on the pole and none, even his family members, were not allowed to approach it. Thus, they terrorised the true owners of the land.
Another main business of The Company was smuggling Opium into the neighbouring country China, disguising it as spice and tea trade. Once produced by farmers under a tiny scale was rapidly converted into a full fledge industry when The Company started to acquire all the lands by force from the farmers. The farmers then worked as salves for the Company to produce Opium. As the business was blooming rapidly, The Company using the Kangani system made the people from the south, notably the Tamils to migrate towards the north to work in the opium fields. To make things easier for them to control the workers, the Company hired a mercenary group from Afghanistan belonging to the Pashtun tribes. They were addressed as Pathans.
Khalilullah Pathan was a ruthless trader. He had no pity, just pride. His whip did the talking. He migrated to India from Afghanistan in 1839 and took care of the entire operation for The Company from Madras Presidency to Calcutta. He also took care of operation along with Masthan Bhai who operated from the Bombay Port and smuggled Malwa Opium and Turkish opium by land route to Calcutta. In Calcutta, the Company auctioned Opium for the rest of the world.
Pathan was very proud of his tribe, thinking how his forefathers had defeated the mighty East India Company. He walked with pride in his green kurta among the British soldiers. His knowledge about his ancestors was vast. He believed that his tribe occupied the northern valley of India. He spoke about his fore fathers who founded Delhi Sultanate to his children - How his they wanted to rule the entire India as a challenge to the defeated of Alexandre the Great. Pathan too wished to become the ruler of these lands. But he also understood that they were defeated during the war on religion and the British were his only chance to quench his thirst by walking over the lands once ruled by his ancestors. He used the same technic as his fore fathers to subdue the people living in India - he terrorised the locals. Pathan was the shadow of fear casted over India.
The Comapny found it difficult to administer a complex land like India. Even after uniting the states, India stuck on to diversity. The same diversity that it used to conquer the entire land, threatened the harmony of the British Raj. The Company found that even when there are identified religions in India, the mass population did not follow any particular religion. The Company invented Hinduism, a name that it gave to the majority of the population following a specific set of principles. The creation of Hinduism did not favour The Company. The Hindu majority started to weigh over the other minorities, notably the Religion of the Church. To divert their uprising, The Company plotted the Hindus against the Muslims.
Events pushed Khalilullah Pathan into a personal turmoil. The questions he never thought before wandered in his mind. On one of his journeys, Khalilullah Pathan came across land grabbing done by The Company. While assisting the British, he observed a dark skinned farmer; the actual owner of the land, been tied up and tortured to make the other land owners to give away their land. The Bristish soldiers supported by the Indian traders and landlords stood and watched the torture show.
Unable to take it anymore, Khalilullah Pathan shed the first tear of the first cry for Independent India.
Hundred Fifty years later, in 1947, India obtained its independence. Following several violent revolutions, a man emerged from the crowd who had united them all to acheive their freedom. Karamchand made them realise that The Company was the stranger in their land, and not vice-versa. He brought a people's movement that threatened The Company’s rule. The highlight of his movement was Ashimsa – avoidance of violence. He said, "An eye for an eye leaves the whole world blinded", thus leading peaceful protests until The Company closed its shop in India. He took measures to establish equality and to render the lands to its owners.
The lands which were unified under The Company became independent. The first house was gathered and Bhimji walked the stairs of the parliament house when he was questioned by a reporter at the foot of the steps, "Sir, what shall be the prime principle of the new born India?"
"Equality", said Bhimji without thinking, "especially in status, rights, or opportunities. Partiality shall be overridden by egalitarianism. All shall own this land, but none shall be its ruler."
"Do you believe in a Perfect Society", shot another reporter.
"The Company has left now", Bhimji said with a smile, "it’s up to us to be what we want to be. To start with, we have to abolish the class stuggle and establish unity. That can only be achieved through equality. I believe in Navayana, its neither birth nor karma, but means the isolated group have the same respect and status, including civil rights, freedom of speech, property rights and equal access to all social goods and services declared legal by the government."
"What shall be the first step towards equlity?", asked a reported looking at the fat book that Bhimji held in his hand.
"You will know that when I speak my first sentence before the first legislative body of India", saying so Bhimji climbed the stairs and entered the parliament house.
Bhimji stood up upon the invitation of the President of India to read the newly constructed constitution of India. Bhimji looked at everyone present inside the room and spoke in a commanding voice that echoed all over the nation, "Article One: India, that is Bharat, is a Union of States."
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1 Attachment(s)
The War of Colours
Part V of V
Post Indipendence
Pandit was the first prime minister of India. His family ruled India after him. In the seventy years of Indian independence, the nation grew into a super power. The population dominated by the young and the abundance of fertile lands, including natural resources, made India shoot up the graph of development. But the state of the people worsened as India ballooned up. The downtrodden were exploited massively by the upper hand. Those who migrated during The Company's rule were treated as outsiders within their own country. Strict laws and punishments were casted upon them - a country that shot dead its fellow men. Not only the minority had social right, but also legal rights as they had helped in the development of the respective region. But all their rights were revoked along with respect.
The massacre of the nature slowly started to turn India into a desert. Prosperity and luxury came before humanity. The powerful suppressed the needy. The tribes were chased away from their lands and the trees slaughtered. Only the fit went to school, others worked to earn their bread. They were branded such a way that they wept in the shadows of the society. The leaders were busy hooking each other to remain in power. Corruption did not allow the friendly plans of the government to reach the needy.
A new rule emerged over throwing the Pandit family. They wanted to establish Ram Raj. They wished to cleanse India. Purity and sanity were their principal goals through which they decided to construct a Perfect Society. They believed themselves to be the Prime. Discrimination reached a new high level. Blacks, the working class, were considered as the lowest rung. They were looked up as impurity by the White who considered themselves as the descendants of Lord Ram.
All through this seventy years, the minority suffered silently, waiting patiently for a messiah.
Year 2018
There was commotion at the centre of Dharavi, a slum at the heart of Mumbai. A group of washer men and women were protesting against the government officials who had assembled huge demolishing machines in front of their households. Manu Constructions manager tried to convince the revolters with few legal documents. Upon the instructions from Hari Dada, the founder of Manu Constructions who dreamt to create a perfect society by abolishing the slums, Vishnu tried to explain the legality behind the demolition as a perfect scheme of the government. When the revolters spoke about corruption and power overtaking their social right of ownership of the land, minor violence erupted.
Further away from the protest, a young man with both his legs amputated rested his head on the lap of blind man. Neither the old man nor the sleeping man were disturbed by the noise. The aged man sang softly when the quarrel between the revolters and the authority gained momentum:
It goes like this,
The minor falls the major lift;
If thine is the glory,
Then mine must be the shame.
I should have seen it coming,
It was red behind your eyes;
Winning was easy,
But darkness was the price.
There's a lover in the story,
But the story's still the same;
The story’s told with facts and lies,
There’s truth that lives and truth that dies.
You say I took the name in vain,
I don't even know the name;
It doesn't matter which you heard,
The holy or the broken.
I crossed the line, I was not caught,
I live among you well disguised;
I dug some graves you will never find,
I had a name ... but nevermind.
You want it Darker ... We kill the Flame.
A modern black jeep slowly crawled into the noisy disturbance. Its arrival stunned both the officials and the revolters. Silence creeped uninvited when the jeep halted at the centre.
Kaala exited from the vehicle.
http://www.mayyam.com/talk/attachmen...5&d=1531090265
Maza Aa Gaya!
Footnote: Selected lyrical lines from Leonard Cohen Hits (Hallelujah, Nevermind, You want it Darker).
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Kaala [2018 - Tamil - 2h40m - Genre : Rajinikanth]
Written & directed by Ranjith
Starring : Eswari Roa, Huma Qureshi, Anjali Patil, Nana Patekar, Samuthirakani, Manikandan, Dileepan & others with Superstar Rajinikanth.
OST : Santhosh Narayanan
Banner : Wunderbar Films (with Lyca Productions)
Haridev Abhayankar, a member of union council of ministers of Lok Sabha, dreams to acquire the lands of Dharavi. His agenda is to chase the Tamil immigrants from the heart of Mumbai, enabling himself to modernise the city under his pet projects 'Digital Dharavi and Pure Mumbai'. He demonstrates the power of power on Tamilians from Tirunelveli living in Dharavi making their lives miserable by grabbing their households in the name of government schemes. One man shall stand between him and his dream. At the blink of white collar power play in its fullest form, the bold disobedience of Karikaalan hauls the dominant authority by shattering the administrative settings and erupt as black smoke of social revolution permitting the weak to retrieve what rightly belongs to them.
http://www.mayyam.com/talk/attachmen...7&d=1531829870
Kaala is an important film.
The movie has undertoned 'Rajini Politics' concealed within at many instances throughout its runtime. During the interval block, Kaala, sitting at the centre of the land of Dharavi, introduces his entourage to Hari Dada who had come to pay him a visit. Kaala points to his right introducing his many friends and then, presents his closest associate, Vaaliyappan, standing alone to his left. Anyone interested can look into 'Leftist-Rightist history/ideology in Indian Politics' and sum up the scene. The film is muchly based on confronting with the ideology between the right and the left wing politics without going into radical extremism.
Screenwriting is a procedure to convert the story from paper medium into the visual medium and defining the narrational frame within. There are several methods to deliver a story to the screen. One aspect that I look forward is the opening and closing of the story (First and Last Frames). I feel that this aspect connects the characters/events (or scenes) that are far apart from each other. Such single frames are ignored easily and the art of writing is completely overlooked. For instance, the fire element triggers the meeting and the separation of Zareena and Kaala, both in the past and in the present - a soothing lamp flame turns itself into a monstrous fire.
In Kaala, Ranjith has exhibited his screenwriting skills by recording realistic and effective dialogues, where the first and last lines uttered by characters leaves an immense impression, for eg :
Poda ... Nilam Engal Urimai (Kaala)
Appa out pa ... Appa ulla irru pa (Selvam)
Ranjith has also induced expression to counterpoint the first phrases of Character Selvi. She is introduced asking her daughter-in-law to check the sourness in the dish that is cooking. During her final presence on screen, she holds an expression in her face as though her tongue tastes sour.
It is quite clear that Ranjith wants to bend a well-known belief and turn it into a power of assumption that could straighten the reality. He had juggled with the Epic Ramayana not only during the 'Dharavi Attack - End Of Kaala' episode towards the end, but by even naming one of his characters as Vaali (The King of Kishkindha who was slayed by Lord Ram) and allowing him to be the best friend of Kaala. On the other hand, Hari Dada's another avatar, a ground worker, is named Vishnu. Kaala sings to his wife : 'Nee Potta Kotta Thaandaathavan'. Other subtexts may kindle fire when explored, esp. one the henchman who terrorises Dharavi, but there is much more inside the film Kaala than just what meets the eyes.
But Vishnu's death and Visarjan (immersion of Ganesh Idol in the sea) has nothing to do with 'anti-religious propaganda' as many may consider. There are so many versions as to why the idol of Ganesh is immersed into water bodies. The principle faith is 'removal of obstacles'. The dissolving the idol in water bodies (lakes, well, rivers & sea), after keeping it inside the living area of the house for specific number days, represents the end of problems for the devotee. Water body is believed to be the supreme creation of God that cleanses the evil or purifies the soul permitting it to get back to its destination after the death of its body. So, when Kaala fights Vishnu over the bridge (under the presence of water element) the Visarjan is assosiated along with the 'Fall of Vishnu'.
There is another thread line to this fight sequence. Keeping Buddhism as another subtext, Ranjith treats Kaala as the re-incarnation of Buddha giving Kaala some special powers too - Kaala walks on fire. His dark sun glasses are the meditating eyes of Buddha and Kaala carries an umbrella (Chatra - stands for Protection in Budhism one of the eight symbolisms of Buddhism). Kaala also seems to be spending his time outside the Buddha temple and in the end, a top notch dialogue; the flower vendor says firmly that she saw Kaala at the Buddha temple. But Kaala does not inherit the qualities of Buddha in his manifestation. He is the 'Anger of Buddha', an opposite of his prime. Thus, he roams in black concealing all his anger, while Buddha reflects his calmness in his white robe. Kaala is a messiah for the needy who has appeared in his violent form as the threat is bigger.
The principle characters, Kaala and Hari Dada, are identic. Both are brutal, savage and barbaric. They both have similar family structure including social respect. Even though Hari Dada is shown someone to be crueller than Kaala, Kaala is equally murderous as Hari Dada. Their duologue is scripted excellently. Both are in need, and the duel rests mainly for Power - Power of the People versus Power of the Council. Kaala seeks justice, while Hari Dada is the law.
Kaala is a mystery. The story happens under a year's span, where most of the Indian festivals pass by to register the timeline. Thus, not much of Kaala (his mental and moral qualities, his attitude, etc.,) is explained. Kaala is elaborated through the actions of the other characters. Every character is similar to Kaala, or Kaala is made up of other personalities around him. His four sons are the four pillars of his nature, his thoughts, habitual gesture and behaviour. Kathiravan is an industrialist who takes care family buisness - Wealth. Another is a literate who wants to get out of Dharavi - Knowledge. Selvam is valiant whose physique terrorise the opponent - Endurance. Manikandan is rebellious trying to make Dharavi a special place - Defiance. Holding all these character traits together for Kaala is Selvi - Fullness. Other two personalities who influence Kaala are Zareena (Compassion) and 'Puyal' (Temper), where Kaala does move affairs legally (conditions applied), also questions wrong information firmly. Moulding these distinctive qualities into Kaala is Vaali, the all-knowing mind of Kaala, which is always half-conscious. Thus, Kaala is all of them at some point in his life and to break the mystery of Kaala, all these characters should be read attentively.
Ranjith's screenwriting makes all these fabulous characters look lustrous, and with a right casting, every artists swirls on screen as bright black pearls.
Santosh Narayanan is an invisible colour in the film. His original soundtrack (the variety he scored for Kaala is HipHop) matches the life style of Dharavi as Ranjith wants to project. It speaks the language of the 'Rappers' who circle around during important scenes who are actually the pain and joy of Dharavi. There are four elements in HipHop - Breaking, Emceeing, Graffiti and Turntablism. Santosh Narayanan has used all the core elements of HipHop to make Kaala Album complete, yet very unique. The special themes are constructed for the situations, highlighting the density of the incident; be it for a fight sequence or for a dramatic scene.
Balancing Rajini's presence with the theme of the story has been carried out visually by Sreekar Prasad; the dissolves are perfect, esp. while the flashback that is narrated by several narrators. Yet, some sequences jump like rabbits, and I understand that it was Ranjith's chioce to remove few scenes/dialogues.
After about more than 150 films, I am awed to see directors and camera-man still able to call unique and original shots for Rajini. The camera work during the interval block where Rajini stands showing his back to Hari Dada is attractive, entertaining and intellectually demanding; keeping in mind the visual images potraying this particular encounter between the two principle characters is the heart of the story. The slo-mos rip the nerves off. And Dharavi looks real with effective objects fitted into each frame. Hats off Murali G.
Ranjith's intention is not only to make a 'Rajini Film' or talk about the minority groups or discuss about social inequality and discrimination, but also to register the way of life of a group of people. Art director Ramalingam gives a visual identity to the lifestyle brought to reality by Ranjith. The layout design is cluttered matching the environment of Dharavi, well backed by the production designer of Wunderbar films.
The list of technicians handling various departments is too long and I have a page to write about each of them and their contribution to shape the film Kaala. So to make it short, Danush has assembled a team of smart technicians who are committed and who have deepened expertise in their line of work. Hats off Danush.
Kaala - Theory of Colours
'Kaala Climax' is not only about black, red and blue colours. Nor Kaala is only about black. Kaala concerns red, blue and yellow that constitute true black - Kaala.
Throughout the film, red and blue colours follow Kaala - during the intro scene the kid in focus wears a red & blue football jersey or when Zareena leaves Kaala's house she rides a red scooter and Manikandan opens a blue umbrella when it starts to rain. While red walks the streets, the roofs of Dharavi are blue … etc.
Yellow, as in sunshine, is represented through Zareena. She wears a yellow dress when she meets Kaala at his resident after several years. An excellent job by Anu Varadha, esp., choosing different colours garments for Zareena suiting to the mood of the situation. Anu has entirely designed the costumes for the characters based on the script and not for the artists.
Green, obtained by mixing blue & yellow, is a friendly colour. Valli wears a green Tawiz and is a friend of Kaala who had accompanied him even before they stepped into Dharavi. Selvi stands for orange colour which is made out by mixing 1 portion of red with 5 portions of yellow, thus, making Selvi more generous in showering love towards Kaala and her family. Each character has its own traits of colours and all these colours put together they become black - Kaala.
The climax is based on Kaala unleashing all the colours held within him. Primarily, there is red, there is yellow blown through and then, comes the blue. The arrival of blue is a beauty; kids completely painted in blue rise up. It has to be noted here how Hari Dada behaves while being encirlced by the colours. His expression clearly maintains his dislikeness towards the presence of other colours which are not as pure as white (absence of colour). He seems to be confused while black (Kaala) circles around him. He is lost in the sea of red. And he tries to chase away the blue by spinning the piece of white cloth in his hand. Hats off Ranjith.
In the end, Kaala signals the colours to begin the party by pulling his hands together that looks as though he is painting (touching) the sky and instantly, almost every colour starts to dance in joy (Vanavil Koothu – a lyrical line from the OST). They mix and mingle with each other until 'The Cry of Hari Dada'. Then, all colours are sucked in unity becoming a mighty black - Kaala. The screen fades to black. Again, hats off Ranjith for giving me one of the best and complete 'Rajini Climax'.
Kaala - Dead or Alive
Dharavi is the fortified fort of Kaala. Kaala seldom leaves Dharavi as he is aware that death awaits him outside the blocks. Kaala exits Dharavi, and each time death appoints itself to be present beside Kaala. He goes to meet Zareena and Bheemji gets killed. He walks over the longest flyover of Mumbai (6.5 km) spreading at Santa Cruz Chembur Link Road and slays Vishnu. Following the 'Interrogation Scene', as well as, after he meets Hari Dada at his resident, death marks its stamp around Kaala. 'The Curse of Kaala' is to have death following him as his shadow, which eventually tears apart his heart.
Personally, I conclude that Kaala is alive. When Kaala returns to join the principle group during the opening of the song 'Katravai Patravai', he voluntarily dashes his shoulders with Manikandan, whose expression on the face when turns and notices Kaala made me decide so.
As anyone with vision could see, Kaala is an important film.
Kaala - Dark Victory
http://www.mayyam.com/talk/attachmen...8&d=1531830044
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Kaala - Similarities to V for Vendetta (1988, Alan Moore)
V, the mysterious persona, and Kaala wear a lot of black costumes. Even though the symbolisations of the main character to take up such attire serves different purpose, black is created as a positive expression showing the protagonists violent but also as some virtuous and righteous superheroes rather than a terrorist or rebellion (respectively) in both the works.
The very aspect of the climax being close to my favourite graphic novel attracted me towards the screen by grabbing my fullest attention. Even though both the climaxes of the fictional works function different, the core idea is strikingly similar.
In the graphic novel V is shot and speaks to Evey : The one I waited for has called and now I have not long. First you must discover whose face lies behind the mask, but you must never know my face. That is their task: to rule themselves, their lives and loves and land. Either a rose midst rubble must bloom, or else has bloomed too late.
Kaala says something similar to Zarenna when she pleads to him not to take risk during the one-night stand inside Dharavi - Everyone is Kaala and they shall take care of themselves.
Then, Kaala gets shot.
In both the works, an explosion stamps the end of these characters.
V : Behind this mask there is more than just flesh. Beneath this mask there is an idea... and ideas are bulletproof.
Kaala : This Land Is Our Land (speaking about land rights that are a key human rights issue).
The purpose of the mask is to establish equality, making Kaala as its symbol. As is V, Kaala is about everybody, it's not just about one character, but about the people in the society, all the people who suffer discrimination and subdued by their own government. By wearing the mask of Kaala, they become something bigger than the government itself, thus, Kaala becomes a living embodiment of an ideal. This narrative intention intensifies the climax in Kaala.
And both the climax looks extremely different from each other, even though they share a similar impression - An Uprising.
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Rajini in France Kalai Vanakkam Nigalchi - 'Télé Matin' (Morning TV)
https://www.youtube.com/watch?v=vix5RqcdiNQ
At the end, they talk briefly about Junga.
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2 Attachment(s)
Archangel of the Estate
https://www.youtube.com/watch?v=6QS5veNk-gI
After the dropped film projet 'Jilla' Collector (nothing controversial about the movie being canned, Rajini was impressed with 'Chinna' Goundar and wished to do a similar movie. Udhayakumar who made 'Chinna' Goundar and was to make 'Jilla' Collector with Rajini, but directed Yejaman instead) ... so, after the dropped projet 'Jilla' Collector, a Rajini film is titled after a physical location, and it’s the first for a Rajini Film Title.
Petta (a colloquial way of addressing ‘Pettai’ in Tamil Language) is an estate. Not an area, or village or town. It is bigger than an area but relatively smaller than a town or village. The origin of a Petta existed even before the colonial India. Less populated, a Petta has a principle building surrounded by housings, religious establishments and social structures like schools, hotels, hostels and clinics. Either in the estate or just at its outskirts, there will be a job provisioning depot. During industrial era, that boomed late in India, these lands were addressed as Industrial Estates.
Petta title is a 'cult' Rajini film title. Even though it is a single word title (Rajini brought forward single word title as its catchy & easy to remember for a layman; his last multi letter title was Nattuku oru Nallavan (1991)), Petta breaks the long list of proper names (as in character name) for a Rajini film, and enters in the league along with titles like Enthiran (2010) that broke the Proper Name streak (Veera, Baasha, Muthu, Arunachalam, Padayappa, Baba). Gayathri (1977), Priya (1978), Bhairavi (1978), Valli (1993) & Chadramukhi (2005) are other exceptions in Rajini Film Titles, which deal with the female lead proper names. Peeta also kind of kills the recent 'K' attachement to a Rajini Title (Kuselan, Kochadaiiyaan, Kabali, Kaala).
Petta title sounds exactly how Rajini would pronounce the word ... followed by his original mannerisms - smile and winking at the audience. By this, I can confidently say Karthik is a rooted Rajini fan, just like myself.
The archangel in the poster is Rajini himself. The coloured glass windows of the church that form the backdrop serves as his wings. There is a similar poster for the film Constantine (2005), where Keanu Reeves is seen caring a 'Holy Shotgun' marching towards the viewers. Even though the atmosphere (replacing the dark shades of grey with a colour palette in Petta) and the pose (a scarf replacing the tie and a vest taking over a neat costume of Constantine) seem identic, there is no resemblance between the two posters nor it can be considered as inspired or whatever word that fits the context.
http://www.mayyam.com/talk/attachmen...1&d=1536351372
Rajini, whose character name is still a suspense, carries a candelabrum (a holder for several candles). The interesting part are the burning candles - Lighting up the path. In the final stretch of the motion poster, where Rajini swings the candelabrum from right to left (in front of the viewer) - Archangel showing the light. The interior of the church is at chaos. A holy place being invaded, and then, appears the Chief Angel to stamp his authority over the evil - The evil has finally met its match.
Almost everyone would have noted the descriptive images flashing while announcing the names (keys of a church organ detaches for music composer / lighted candles appear for the banner / suspended desk accessories for script writer / etc.), what particularly interested me is the colour palette used in the (motion) poster. Without going too much technical about it (mentioning it for the people who wish to look beyond inside a movie poster), the usage of colour expresses an exploitation genre, like 'back to the 70s' style. I actually like the entire film and the filming of 'Hobo with a Shotgun' (2011) starring Rutger Hauer, and Petta motion poster just enhanced its colours. Of course, Grindhouse defunct effect is employed, a style rejuvenated by Quentin Tarantino for the modern-day audiences.
Few more technical: Apart from the colour palette, the arc effect is excellent capturing the mounted graphic decors. The zooms are punctual and the style of photography using focus modes are crisp while capturing (CGI) subject - a blurred long shot, one shot focus, godseye, closeup, full frame, etc. The processing of the special visual effects is done promptly to increase the authority of minute details in the images.
I don’t wish to speculate, but there is a century old church in Dehradun Uttarakhand – St. Francis of Assisi (St. Francis Catholic church standing since 1853 even after a massive earthquake). The history of the church is interesting, for those who wish to look into it.
John Woo, the visionary action stunt coordinator has an immense likeness towards church decors and white pigeons. His action blocks inside the church increases the 'adrenaline effect' among the viewers. He is also an ardent user of slo-mos, that enhance the 'heroic' attribute to the character indulged in the shootout inside the church. Even his sword fights in the film Red Cliff (2008) is choreographed with grace and style, of course with its own fair share of gore (as in art). Other church episodes that I like are in video games such as Resident Evil, Uncharted 3 (a huge awesome fight sequence) and few movies like Resident Evil, Constantine (one of my favourite super hero characters). I also like fights inside a cemetry, gives me a eerie thrill. Personally, I wait eagerly to watch Rajini doing spectacular stunts filled with style inside the church.
Rajini, once again, sets a subtle political message. The temple (church) is the society that is totally invaded by forces creating confusion and disorder. Rajini is a powerful angel that leads many other angels, who brings in the light to show the path to the lost, at the time, to burn the immoral and the wicked who create mayhem into ashes.
Rajini Petta is in a different league.
http://www.mayyam.com/talk/attachmen...2&d=1536351380
Petta - Hellfire
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Rajini Rap by ARR
(Disclaimer : lyrics not verified)
1/ Baba - Am about to Explode (2002)
Come On Come On !
Yeah!
Come On Come On !
YO! Am about to explode,
(here I come) Can you fell my flow
Baba thats what they say
B to the A to the B the A
GO! Am about to begin,
(for the justice) I will win
Can you stop me ..... you cannot
Hey getout or you will get shocked
Do you hear me loud and clear
Let me tell you Baba's here
Do not, what we have no fear
Am a magical man; oh yeah.
[Am a magical man; YO! Do you understand.
Hey you! Stop right there
1 2 3 yeah!]
I am a man on a mission with ambition
As I hear the beats dawning into an indic introduction
With the ploy to make the whole world safe and free
The name is Baba ....Yeah ! That's me!
B to the A to the B the A
Baba that's what they say
The name is BABA ... Yeah.
https://www.youtube.com/watch?v=tYG7n3q3p30
2/ Sivaji - The (Motta) Boss (2007)
You could kill me, You thought, You could get away;
But you never never never never gonna get away,
You can break me n break me n take me n break me,
Never never never gonna get away ... no ...
Comin' with an aim
Comin' Comin' with a Jai
Comin' with an aim
Comin' Comin' with a Jai
Comin' with a Yaar
It's SIVAJI ... The Boss
https://www.youtube.com/watch?v=yT9YnRTCUB0
3/ Enthiran - Robo Da (2010)
Boom Boom Robo-Da Robo-Da Robo-Da Zoom Zoom Robo-Da Robo-Da Robo-Da
Okay ... fine .. fine ... fine ...
Spit the Gigidi Microphone
Gigidi Checki Check
Throw your hands up in the air
Do the crash mambo break
Cause the problem of a man
Will set you on fire
Don't do the wire
Take Human fire
(Alap)
https://www.youtube.com/watch?v=75MVKtnOLlQ
4/ 2.O - Super Super One (2018)
You got this Sagathey, Sudathey Seendathey
Baby you should watch this
Qu'est ta fait
As I am the one
Hey got this, You go this, Saga His
Baby you should watch this
Qu'est ta fait
As I am the one
Hey Buck Buck Buck Buck
It got to stop
Ya! Go while you re ready take a shot
I am the only one
There is no comparison
'Cos I am the Super Super One
I am out to get you
Let you wreak yourself
As am coming now
There re 1000 fighters by my side
I am bad_as I shoot them down
About time like no man
About time with no gain
I stand well above mouth stain
I care down like no man.
https://www.youtube.com/watch?v=7cx-KSsYcjg
Chitti 2.O - "He's not the Boogeyman. He is the one you send to kill the fucking Boogeyman"
bwahaha
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The Wives of Veera
(The Siente & the Stranger Series)
Yield to all and you will soon have nothing to yield.
Siente : So I shall tell you a story to weaken the burden of this dreadful journey. A 'fairy tale' you asked, and it shall be from fabler Aesop's fables (sixth century).
A man had two wives - one younger to him and the other older than him. His wives loved him very much, resulting in each desiring to have him for herself. The younger wife combed his hair before going to bed, and the older one brushed his hair when he woke up in the morning. As years passed, the man's hair started to turn grey. The young wife wished his hair stayed black, while the older one liked his silver strands. During the night, the younger wife plucked out a white hair, and in the morning the older wife plucked out the black hair. The consequence was the man soon found himself entirely bald.
Stranger : But you promised to narrate a Fairy Tale with beasts and dragon !
Siente : Once upon a time, Veera, a singer-instrumentalist, along with a folk drummer Ravikanth, is offered by production house to record an album under their company. The album becomes a huge sucess in sales. The company owner had a beautiful daughter Roopa who falls in love with Veera. The Knight of Music marries the dancing princess and they lived happily ever after.
Stranger : huh! where is the beast ?
Siente : Once upon a time, Veera, a young man falls in love with an angel Devayani. His love for her made him change completely and he became the Knight of Power when he proved his might to her father. The Knight of Power marries the classical angel and they lived happily ever after.
Stranger : But wait ... where is the dragon ? Aren't there any ? *sigh*
Siente : Yes, they are. And they were always there. You didn’t see them doesn’t mean they don’t exist. One came out of the sea and the other out of the abyss. The married life of Veera and Devayani did not last forever contradicting the fabulous endings "And they lived happily ever after". Devayani turns into food for a hungry flood. As all power is lost when love is lost, The knight of Power was driven by sorrow and he leaves the sea-side village. Veera comes to the town where he meets Roopa and marries her, thus, rejuvenating himself as Knight of Music. The shocker arrives to the happily living forever couple Veera and Roopa - Devayani, presumed dead, knocks their door during a star studded night. The Knight now has to yield to the suituation, where he tries to balance his life being shared between Roopa and Devayani. The first beast is an angel whom Veera worshiped. The second beast is a princess whom Veera honoured. And a huge dragon called Fate stared at him while standing between the Wives of Veera.
Stranger : Well, that sounds more like a fairy tale with two beasts, a dragon and a Knight. How did the Knight handle the beasts and the dragon ?
Siente : On a sunny day, somewhere in a far far temple, Veera is present with Roopa. Ravikanth informs him that Devayani is climbing the devine stairs. Fate mocked at Veera who found no time to fight the laughing dragon. Instead he moves around the temple to meet with Devayani. Convincing her that he would soon be with her, he circled around the temple to make the same promise to Roopa. Kind of not letting the right hand know what the other had done. Roopa and Devayani happily descended the stairs together not knowing that they are sharing the same husband but hoping that he will join them soon. Standing on top of the stairs, Veera watches his wives cheerfully walking away. His mind worked overtime with his brain to memorise what he spoke with whom.
And the dragon whispered in his ears, "If you tell the truth, you don't have to remember anything."
Stranger : Funny!
Siente : What is that you find funny ?
Stranger : I thought women were smarter than this. You always have a habit to mock at woman at the very first chance you get. You called them Maya previously, and now you address them as beasts! Two Beasts and a Knight!
Siente : When you say fire, you don't get burnt. Else you won’t say it. One resurrects from the water, the other waits on the land. They are the destination for the Knight, his goal as big as a beast. The Knight is a traveller who took both the paths, while being guided by the light of the fire coming out of the mouth of the dragon called Fate. The reason of existing of the beasts and the knight is to serve a larger purpose, not in their forms, but in their actions. As soon as Veera spoke the truth, the three lived happily ever after under the warmth of the dragon.
Stranger : If you tell the truth, you don't have to remember anything. I will take that with me during my tedious journey.
Footnote : Veera released in 1994 is a Tamil language movie written by Panchu Arunachalam and directed by Suresh Krissna. The director handled the story as a musical comedy giving much importance to music while designing his scenes and emotions of his characters. The contrast of the seaside view versus the concrete jungle extends the tale through two different dimensions. The OST is scored by Ilaiyaraja. We have already discussed about the Golden Fish scene, and there are many such valuable scenes in Veera where Ilaiyarja polished the visuals with bright musical score rich in grammar. Veera is the last collaboration of Ilaiyaraja with Rajini. The film has a huge cast that includes Meena, Roja, Janakaraj, Senthil, ..., and Rajinikanth plays the lead role. Veera is an adult oriented film and a rare feature in Rajini's filmography. During the initial release, Aathile Annakili & Adi Pandalile, were removed from the screening due to its obscene lyrics and visuals (Meena covering herself with 'village-bath-towel' & Vichithra's clothes hardly covering her hanging flesh. In both the songs Rajini flirts with the dames). The songs were later included in the film after replacing the explicit words and few visual frames altered using editing technics.
http://www.mayyam.com/talk/attachmen...6&d=1540824653
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True Colour
(The Siente & the Stranger Series)
Siente : Listen to this and speak only when you understand. We still have a long way to go!
Once upon a time, there lived a Golden Dolphin who was worshiped as a saviour among the voyagers and sailors. Some even considered it as Demi-God. Whenever there was a ship wreck, the Golden Dolphin would appear and help the drowning crew by carrying them on its back till the sea shore. The Golden Dolphin was a great entertainer too. In the evening, people from all over the world gathered at the harbour to see the spectacle of the Golden Dolphin. It soar high up towards the sky and dived back into the water, sending droplets of cold water on the faces of the kids gathered around. The kids stood in the front row waiting to be blessed by the Golden Dolphin. The shops around the port area flourished as tourists shopped in happiness throughout the evening after tasting joy from the performance of the Golden Dolphin.
At the corner of an abandoned street, a man performed street tricks with his monkey. To encourage the people to throw a coin at them, the monkey imitated the Golden Dolphin. It jumped up in the air and twisted and turned before landing back on the ground. It rolled over the muddy street lane as the Golden Dolphin floated over the sea water. But none gave their attention to the monkey but the man came every day with his monkey to perform before an empty crowd. In the evenings the monkey watched the Golden Dolphin dance over the water and would repeat its mannerisms silently in the dark in the urge of making heads turn towards it the next day. At times, to convince the passer by, the monkey spoke high about the Golden Dolphin, that it considers it as the Great Entertainer and its mentor. But none took notice of its lies, but the monkey continued with its copycat acts.
One day the monkey saw a small metal can falling from a cargo wagon. It ran behind the rolling tin and caught it. It took it far away thinking it could hold something to eat. After a deep struggle, the monkey managed to separate the lid from the tin. It found a thick liquid inside. It was a tin of red paint. Not sure what it had found, the monkey let its face inside the tin to check deeper. Its face and nose was covered with the red paint. The monkey tasted the dripping paint and coughed. It threw away the tin angrily and returned to its master who immediately saw an immense opportunity as soon he saw the monkey's red face.
People were surprised to see a monkey with a red face. Overnight, the money became a star. It announced itself as the competitor to the Golden Dolphin with the same mouth that once spoke high about the Golden Dolphin. It started to plot over taking the place of the Golden Dolphin. Its master boosted that the era of the Golden Dolphin has come to an end and everybody preferred his monkey over the Golden Dolphin. They created an army of monkeys who were initially scared to enter the harbour area and asked them to spread false laurels about the Red Face Monkey. The monkey’s monkeys ravaged the peaceful surrounding the harbour with their filthy and stained mouths crying out loud 'Hail the Next King!' Hail the New King!'. In the evening, the monkey would mount a self-made stage and talk nonsense, but made its monkeys to cheer out loud making it look like everyone is enjoying its presence. Admits the self-proclaimed cheering, the Red Face Monkey organised the fall of the Golden Dolphin.
The monkey's master decided to go international. They both travelled on a boat to reach the other side. The other monkeysd stayed over the deck shouting out praises about the Red Face Monkey. A thunder followed by a storm wreaked their boat. Even though the monkey imitated the Golden Dolphin its entire life, it did not know to swim. Stealing someone else’s identity does not allow taking the talent along with. The monkey struggled to keep its head over the water by kicking all its four legs at the same time. To its surprise, the monkey suddenly started to float over the water. It found itself on top of the Golden Dolphin. The monkey grinned. It sat with pride while travelling on the back of the Golden Dolphin. It thought that the people would see it walking over the water and thus, it could attain the Demi-God status, just like the Golden Dolphin.
The Golden Dolphin gently slipped the monkey onto the harbour's deck. The crowd cheered, and the monkey waved back. The Golden Dolphin halted for a while looking with its deep calm eyes at the monkey. It whispered to the monkey, "The only person you are destined to become is the person you decide to be". A moment later the Golden Dolphin dived back into the water and disappeared. The crowd cheered again, and the monkey ignored the Golden Dolphin and faced the gathered crowd. It was overwhelmed by the sound of the claps that it even forgot to thank the One who had saved its life. The new cheers that did not came from the monkey’s monkeys made the monkey think that it has achieved greater heights than the Golden Dolphin.
As the monkey started to walk holding its face high up towards the sky, a tiny pebble flew before it and landed on its nose. A moment later stone shower poured all over the monkey. Scared, the monkey ran to the covers while watching the crowd angrily stoning at it. It got behind a wall and on the opposite side there was shinny objet. The monkey looked at its own reflection on the mirror. Its face was no more painted red. The water had unmasked the monkey.
With its head hung down facing the ground and trembling with guilt and shame, the monkey walked past the laughing shadows. The monkey’s monkey was chased away from the harbour area and its master was nowhere to be found. It turned towards the sea and the Golden Dolphin swore high above the water and shot past the setting sun.
http://www.mayyam.com/talk/attachmen...7&d=1540908886
Stranger : Stealing someone else’s identity does not allow taking the talent along with. Be true. That’s the most beautiful of all colours which no paint can mask. I see light at the distance. Maybe, it’s a guest house where we can spend the night. A storm is coming.
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Agnate Siblings
(The Siente & the Stranger Series)
Stranger: The silence here is so loud! And of all great men, you are reading?
Siente: Fools have a habit of believing that everything written by a famous is admirable. For my part I read only to please myself and like only what suits my taste.
Stranger: Thoughts. Without them there are no feelings! You read to keep yourself young, isn't it?
Siente: Can I serve you some more tea?
Stranger: But the cup is full and is overflowing.
Siente: Like this cup you are full of your own opinions and speculations. How can I fill you unless you first empty your cup?
Stranger: I, then, empty my cup between my lips. Positive thought inside by emptying the negative thoughts.
Siente: Tell me what is Positive and that which is Negative. Is "All that I know is I know nothing" a negation as it holds "nothing" in it? Unless you define what is positive and what is negative, you can ignore none. People tend to advice without definitions, and those who follow the halfwit go through a tough time. Any fool can criticize, condemn, and complain but it takes character and self-control to understand what is said and not said.
Stranger: I understand that if I talk about good and evil as illustrated in faith, I would have to listen to another lengthy sermon.
Siente: Polar opposites. Good and Evil. Positive and Negative. If One needs to decipher the Map of Life, he has to go through both the opposite ends. After the travel, he shall realise that they both are equally glacial. In that coldness he shall define them as agnate siblings. Oh! Stranger, listen to me when I speak, the end is for you to decide:
Garuda (large bird with eagle-like features) and Sesha (a thousand headed giant snake) are agnate siblings.
http://www.mayyam.com/talk/attachmen...0&d=1542290750
Their origins began when Rishi Kashyapa married sisters Kadru and Vinata. Kadru gave birth to a thousand black serpents while Vinata had a son Aruna who grew up to become the Sun's charioteer. On a sunny day, the sisters witnessed the celestial white horse Ucchaishrava flying in the sky. They admired the horse while commenting about its beautiful tail. Vinata praised Ucchaishrava's tail as white as the snow to which Kadru disagreed. The sisters entered into a wager. If the horse's tail was black as claimed by Kadru, then Vinata will serve her sister and her siblings for the rest of her life.
That evening, Kadru asked the serpent sons to hide under the tail of Ucchaishrava so that it shall look black. When the serpents refused, Kadru threatened them that she shall cast a curse on them to burn alive. Sacred the black snakes obliged and hid under the white tail of the celestial horse. The inspection that was carried out the next day proved Vinata wrong, thus, she served her sister and the serpents ever after.
Kadru spent her entire day by idling away the time while Vinata did the household. Vinata's closeness to Rishi Kashyapa yielded her a second child. As soon the baby was born, it swore high up in the sky flapping its white feathered wings that looked like flames feasting the wind. Looking at the beautiful child with fair feathers the Angels named it Suparna.
Suparna went in search of food for the whole family every day. He saw his step-mother and his step-brothers doing nothing but only his mother toiling hard. Upon enquiry Suparna learnt about the bet his mother had lost to Kudra.
Suparna spoke to his serpent brothers and asked them what he could do to release his mother from the contract. The serpents were always scared of their mother Kudra. They knew that their mother would burn them alive if they disobeyed her. So, they asked Suparna for immortality that could set them free from their mother’s clutches. They informed Suparna that with the power of his wings he could reach the God's Palace and bring them the divine nectar of immortality - The Amirtha. They warned Suparna that the palace shall be heavily guarded and that with his mighty shoulders he could shatter any obstacle.
Thus, Suparna travelled to the God's Palace fighting away many hurdles on the way and reached the room where Amirtha was stored. Suprana crossed all the barriers smashing the mechanical defence systems and finally fought with three Nagas who protected the Amirtha. The Birdman flew away with the pot containing the divine nectar.
The Palace was at chaos and the Gods ran to Lord Vishnu. Hearing that the Mysterious Bird did not consume Amirtha but was carrying it away, Lord Vishnu knew that the bird served a higher purpose. He appeared before Suprana who immediately subdued himself before the Supremo explaining to him his suituation. Pleased by the selfless act of Suprana Lord Vishnu offered him a boon of his choice. Thus, Suprana asked to be in an eternal position and to became the guardian of Lord Vishnu. The Supermo blessed Suprana as his vehicle and named him Garuda, the Agent of God.
Garuda defeated Lord Indra and his Dadhichi Vajra (an awesome weapon made out of Rishi Dadhichi's spine) who tried to stop him on his way back without taking any damage. After victory Garuda informed Lord Indra that he would shed a feather to honour the Great Fight. Moved by the greatness of Garuda, Lord Indra offered his help to liberate Vinata. Garuda requested two benefits from Lord Indra who readily accepted them: One, Garuda wished to take his vengeance by feeding on his serpent brothers. Two, as soon as Garuda puts down the pot in front of his serpent brothers, his task shall be complete irrespective whether they consume from it or not as they have asked only to bring the pot and not to wait till they taste Amirtha. Then, Lord Indra shall strike at the speed of a lightning and take the pot back to the God's Palace before the serpents could place their hands on it.
When Garuda put the nectar pot on the ground few drops of Amirtha fell over the Dharba grass. He asked his brothers to free his mother and then, do the rituals before consuming the Amirtha. Garuda left with his mother Vinata. While the serpents were getting ready, Lord Indra took the pot away. When the serpents returned after the ritual to consume the divine nectar of immortality, they were shocked to notice the missing pot. But they saw few drops of Amirtha over the grass. They tried to lick it from the grass with their tongue. Amitha made the Dharba grass strong that its rigid sharpness cut the snake’s tongue, thus, the serpents got split tongues. After returning his mother to a safe place, Garuda returned to massacre the serpents.
http://www.mayyam.com/talk/attachmen...9&d=1542290701
Garuda fought and killed all his nine hundred and ninety nine serpent brothers and left in search of the eldest, Sesha.
While all this was happening, Sesha, the eldest of the serpents, went to the jungle to penance not tolerating the cruelty done by his mother and brothers towards his step-mother and his agnate sibling. He was blessed by Lord Vishnu who accepted his plea to be the bed of the Lord floating over the ocean. The Supremo blessed Sesha as a spiritual being and Sesha sheltered the Lord with his thousand head.
Garuda could not touch Sesha. Being with the Lord revoked Garuda from killing Sesha. Since then, Garuda and Sesha wielded an unspoken war as whose devotion to their Master was greater. Lord Vishnu favoured Sesha that angered Garuda who considered his serpent brother evil and even after killing all his brothers, Garuda claims himself to be good.
http://www.mayyam.com/talk/attachmen...8&d=1542290668
Stranger: Positive or Negative. Good or Evil. The Self is the One that determines the polar opposites. A Judge of Self reasons the existence of the agnate siblings through the Trail of Life. None else can decide rather than the One who is the creator of the Self.
Dedicated to Uncle Stan
(Stanley Martin Lieber 28/12/1922 - 12/11/2018).
The more you read, the better you’re going to become as a storyteller – Stan Lee.
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2.O - Agnate Siblings
The Garuda Origins is illustrated in the epic Mahabharata - Ch 14-35: Adi Parva & Astika Parva. There are several branch stories in the Garuda Origins which are all quite interesting. The Garuda episode is the most action packed in the epic marvel with all elements including fantasy and sci-fi, notably the defence mechanism protecting Amirtha. If its Hanuman in Ramayana, then, its Garuda in Mahabharatha. The Garuda Fight with the Nagas and flying away with Amirtha is presented as a rock carving in Garuda Wisnu Kencana Park, Bali - Indonesia.
So, how does all this connect with the film 2.O. The characters Chitti and 'Birdman' are agnate siblings born to the same father - Technology.
Enthiran (2010) is about creation where Vasegaran creates Chitti-the robot. Chitti designs himself later with the ability to create clones of himself. The 'Thousand Clones' have the equal power and energy as Chitti. In 2.O, Birdman is born with the collective force and energy of mobile phones.
Garuda against thousand serpents is what is the Monster Bird versus Thousand Chittis.
http://www.mayyam.com/talk/attachmen...1&d=1542306214
Apart from many wonderful aspects to be noted from the trailer, there are two fabulous features that stand out:
https://www.youtube.com/watch?v=jrETX2eDhL8
1/ Bringing the entire idea forefront through visuals is tremendous. Two super-powers born out of the same energy, yet unidentical. One has the power to convert its source into force, and the other, Chitti-the robot, who deploys his electrical power to create its own source. Chitti v1 fails. He is too naive to understand that he is unlimited. He becomes more Human and thinks Human - a clone of his Father Vasegaran. The Birdman continues his rampage mode gaining enormous capacity and durability from the millions of mobile phones he draws to power himself up. Projecting all these complicated elements and presenting it as a layman’s version is impeccable. Hats off to Shankar and his team. Even the Red and Blue symbols for Chitti Superhero Suit is simple - a capital C and electricity symbol loaded inside the curve (Chitti gains his power from electricity).
2/ The entire shot design is perfected to fit the 3D version. There is always an element that out pours itself from the screen. All the mobile phone flying up and hitting the screen, the Gaint bird approaching towards the audience, bullets spitting out of a thousand barrel gun and raining over the white canvas, the Birdman's wings caressing the faces of the viewers, so on so forth; everything punctuates to the effect that it shall provide to the larger experience while watching the film in 3D. Hats to all technicians involved, notably the cinematographer Nirav Shah, the special effects team and Rasul Pookutty for retaining the experience through optimal real time sounds. The makeup effects and the CGI surrounding Akshay Kumar's Birdman appearance is mind blowing. And ARR, the spiritual Music Master blazes his horns and rolls the drum while the violins shiver to agitate a sensitive feeling among the audience.
The first 3D film I saw (when I was a kid) was My Dear Kutti Sathan at AVM Rajeswari. I still remember rolling out my tongue to lick the cone ice cream that came just out of the screen and danced in front of me. When I see the 2D trailer, I am excited to imagine how great the 3D version would be.
I am fussy about DI, and that’s my problem which certainly does not impact the grandeur of 2.O. I am a kind of old school when it comes to colouring and effects, so no whining about it. I also felt that there is a lot of reverse motion effects thrown in. Too early to talk about it (and of course it’s too technical, so who cares anyway).
A motion picture should be viewed while it’s in motion. Pausing and finding errors in the frozen frame of the mammoth work accomplished by experienced minds points to the roadway to ignorance. While the picture is moving it is extravagant. And If anyone wondering why the visuals are bright - the digital processing is done to be viewed using dark 3D glasses. So, the normal version does look glossy, which truly makes me feel that the 3D version is going to set the screens on fire.
It needs a Greater Evil to defeat a Giant Evil.
http://www.mayyam.com/talk/attachmen...2&d=1542306236
2.O Trailer - Spectacles of Spectacle
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Dark of the Darkness - The Fifth Force
(The Siente & the Stranger Series)
Stranger : I have heard about micracles. Religious men painting on canvas and turning it into a real scenary. But I wonder why there is no place for animals in their sanctuary. Isn't this world a place for every being - life or lifeless ?
Siente : Perphaps a fox can do such tricks. My miracle is that when I feel hungry, I eat, and when I feel thirsty, I drink. What you see does not exist. What you can't see cannot be defined. Don't be fooled by the act of a fool. The mind and sentient beings, after all, do not exist. The true nature of phenomena is emptiness. There is no realization, no delusion, no sage, no mediocrity. There is no giving and nothing to be received.
In your terms of being, yes, there is enough space for everyone and everything in this universe. This world, as it exists, is not just for humans.
Stranger : If nothing exist, where did the ego come from ? How bad such a matter can evolve!
Siente : However way you define the Bad and the Good, Ego is neither bad nor good. Ego did not evolve, but it helped in evolution. Ahamkara-the Ego, is the root cause of all creations. There are two states of bodies, one is physical and the other is psycho-spiritual. They both evolved using each other as subtler elements. One element gives birth to an entirely different element, thus they both co-exist. From clay comes the pot. Their co-existence permits the creation of yet another element totally different in properties. Thus, the creation carries on inside a predefined loop.
To understand the nature of Ego, one has to analyse how it came to existence and how it paved way from the evolution of other physical and conscious matters. Ahamkara-The Ego evolves from Mahat-The Intelligence which is the child of Purusha-The Consciousness. Once Ahamkara came to existence, the other elements Tanmatra-Subtle elements, Jnanendriay-Cognitive Senses, Bhutas-Gross Elements and Karmendriyas-Active instruments sprang out of Purusha-The Consiousness.
And then, first came the sound of nothingness, which then evolved into various other elements. Out of the feelings of the body, the structure of this universe is defined:
Space: Sound
Wind: Sound + Touch
Fire: Sound + Touch + Vision
Water: Sound + Touch + Vision + Taste
Earth: Sound + Touch + Vision + Taste + Smell
Each has its own subtler elements generating its own Mahat-The Intelligence, thus, impacting one another. Any Body, physical or conscious, having either or all these subtler elements within, have contributed to evolution and thus, have a space for themselves.
Two new elements came to existence: The True Ego and The False Ego - The Dark of the Darkness.
Stranger : True Ego and False Ego ? What could be the difference if both are simply Ego? My mind refuses to believe in Dualism.
Siente : Dualism and Non-Dualism are two eyes of consciousness. Both experiences lead directly to the centre. Their path is defined by the Ego of the Mind itself. Like Omnism and Athesim. And to be real they both do not exist. These elements are created through the Ego, that affects the intelligence - When Ahamkara rules Mahat. It blocks the way up to Purusha-the consiouness.
Simply put, 'I am' is Ego. What follows 'I am' defines its Trueness or Falseness. "I am" followed by a materialistic matter constitutes in the building of an element that does not exist. I am Thamizhan is a False Ego that triggers pride which is a part of desire, thus, the body starts turning in round and refuses to evolve.
Stranger : Then, Who Am I ?
Siente : That's the True quest you have been put on this earth to find. Listen O! Wise Mind, when our desire is pure, then we’ll fully experience Ananda—The Unending. Satisfaction is the root cause of False Ego. You are more than your true success. Strive for the higher and never stop with materialistic gains. This world will preach falsehood as that’s where the preacher has stopped experiencing and sits upon the mountain of False Ego. Continue to work harder by crushing the False Ego as how sound is crushed by the deaf ears and eventually your conscious will open newer ways to taste Ananda.
https://www.youtube.com/watch?v=awWcCD5mIG8
Stranger : The physical forces, how so they contribute?
Seinte : Gravity-Grounded. Electromagnetism-Energy from an outer source, The Weak Nuclear-Sleeping Force and The Strong Nuclear-Applied Force. All these energies act as directives and impact the Trueness or Falseness.
Stranger : Isn't there a Fifth Force ?
Seinte : Yes there is. And it goes by the name - The God Particle.
http://www.mayyam.com/talk/attachmen...3&d=1542722884
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1 Attachment(s)
The Grey Wolf, The Greedy Lion, The Grim Fox
(The Good, The Bad, The Ugly)
The kingdom fell in darkness, and shadows ruled the light.
By the sign of dawn, the knight was on.
He rode up like a savior, when every hope was gone.
The beast will be won, when his deed is done.
And He shall bring us to life, the Super One.
The King of the Jungle, after vigorous tests and interviews, recruited two ministers. The Wolf and the Fox stood either side of the Lion when he presented the new appointees to the People of the Jungle.
The Wolf was everyone's favorite. His two colored ears - One grey and the other snow white - attracted everyone towards him. His friendliness gained him confidence among the people and his valiance obtained him the surname 'Terror of the Jungle' all over the kingdom. He never wished to become a leader, but became the Super One to serve the people without the burden of a crown decorating his head. The Wolf loved his king and served him with loyalty. He brought the people's pleas to the Lion’s ears and toiled to find solutions that could turn the Jungle into a paradise.
On the other hand, the Fox, being intelligent, plotted to over throw the King and become the Ruler of the Jungle. His sweet talks made him the King's favorite, but his attempts to take over the kingdom failed due to the interference of the Wolf. The Fox understood that until the Wolf served the Lion and the People, he can never become the King.
One day the Wolf saved the King from a fatal attack. Upon investigation the Wolf found out the conspiracy that was led by the Fox to over throw the Lion. The Wolf averted the King immediately and explained the long history of plotting devised by the Fox against the Lion.
The Lion was a bit hesitant. He was unable to judge whether the Wolf was accusing the Fox out of jealousy. Moreover, the Lion did not want to anger his intelligent minister. There is a scarce for brave men like the Wolf, but an intelligent minister like the Fox is a rare kind, thought the King. He preferred the Fox over the Wolf. But being suspicious about the Fox’s actions and secrecy, the Lion kept a watch over the Fox. If the Fox was guilty he would tear him into pieces with his sharp nails; and if he found the Wolf lying, he would advise him and persuade him to work together with the Fox, asserted the King to himself. The Wolf and the Fox combo were extraordinarily unique and he wished to have them both on his sides.
The Fox started to behave normally without letting out a clue that he knew, through his spies, the Wolf had indeed reported to the Lion about his plans. The Fox waited for the right moment to strike. He knew that until the Wolf is alive, the throne would be forever a dream for him.
As time passed by and the Wolf kept both his eyes on the Fox, the Lion fell sick, horribly sick. All the medicines of cure did not work and his body failed to respond. That night the Fox came to visit the Lion in his den. Under the dimly lit torch the Fox spoke softly, "O! King of Kings. I have travelled far and found a remedy that can cure your fatal illness. Not only it shall put you back on your feet, but can give you immortality. You shall become The King of Kings - forever!"
The Lion's eyes grew bigger, filled with greediness. "I am listening Fox", he growled weakly.
"The pelt of a wolf, my majesty", whispered the Fox; "Enveloping yourself under the pelt of the wolf whose ears are two colored shall bring you back in form as never before!", grinned the Fox under the orange light. "But My Lord, the wolf must be skinned alive. Its agony embedded in the pelt is the real magic cure." The shadow of the Fox swore high touching the ceiling of the den while he thrusted his cruel plan upon the King.
The Lion, completely mesmerized by the words of the Fox, ordered the kill. He sent out a team of deadly tigers to hunt down the Wolf and bring back his pelt. The Fox frowned under the moon light when the King passed the deadly order.
The Fox sat beside the Lion impatiently waiting for the news from the tigers when he heard chaos outside the den. Thinking the end of the Wolf had finally knocked the doors of fortune, the Fox assisted the Lion to walk to the entrance by lending his shoulder. Each tiny step, the crown of the Lion glittered in eyes of the Fox.
When the Lion and the Fox exited the den, they were shocked to see the obedient Wolf, victim of time and leader by destiny, siting at the center surrounded by the people of the jungle; the tigers were nowhere seen.
*playing Petta Theme*
http://www.mayyam.com/talk/attachmen...6&d=1545055297
"Naan veezhven endru ninaithayo!"
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1 Attachment(s)
Strength of Stillness
The serpent coils itself three times around His neck; each coil representing time - the past, the present and the future respectively. Its hood is erect above His right shoulder signifing stillness - a state of rest and activation of strength that goes along with heightened mental alertness.
And then, there he sat as still as the night, with a gun as erect as the hood of the cobra at his right, surrounded by the fog of time.
http://www.mayyam.com/talk/attachmen...7&d=1545835683
The cloud of red crawls behind him, a burst of orange mingles with it in the middle and paves way to the density of green that awaits him ahead of his feet.
The past is represented as the red cloud behind his head denoting the mixed memories of love and anger. His background is associated with strong emotions with courage, strength and power. It inspires desire with a strong link to sexuality.
The present is the burst of orange spreading from his chair indicating his current position with the encouragement to move on that provides excitement, warmth and enthusiasm. The orange provides him an appeal in the social circle and allows young people around him.
The future lies ahead as a pasture of green signifies growth and health. It provides peace and is just a step ahead of him. The fertile environment waits to provide him rest along with secure feeling.
And then there he sat, holding a gun in his hand and transcending the limits of thoughts; debating within whether to turn around to take the Path of Revenge, or stay placid over the Hill of Peacefulness, or climb up the Stairs of Serenity.
Petta - Choice is Yours