A lyrical Masterpiece - Saagavaram

I have been resisting the temptation to post about the greatness of  Uthama Villian Songs particularly after several people accused me of being biased. However, I have ceased controlling the temptation simply because of  'Saagavaram' song. I am not sure whether any of you had the chance to listen to it. After listening (several times) to the song 'Saagavaram', something struck me and I found out today that this song is a masterpiece. I am not talking the music ( I know very little about music) , but the lyrics...  

To just give everybody a background, this song (i think) is being rendered by a theatre artist (who unfortunately has avoided death 5 times) to his king (who is adamant on being immortal) about life, death, rebirth and why immortality is a much worser situation than death. The lyrics are deep.. Very deep..I have tried to translate/give my views whereever possible. 

Saagaavaram pol sogam undo Kelai manna (kelai manna)...

Theeraa kadhaiyai ketpaar un do Kelai manna (kelai manna)....

[Is there a bigger sadness than having a boon to not be able to die ?

 Is there anyone who wishes to listen to an everlasting story ?]

Kaniyar kanitha kanakku padi naam kaanam ulagidhu vatta pandham (Oooo..)vatta pandham(Oooo..)

vatta pandhai vattamadikkum mattra pandhum pogum maande...

[ As per mathematicians's and scientist's , this earth is a round ball.. 

  The round balls (read other planets/satelites) that rotate this ball(earth) will perish one day]

Maala oliyaam nyayirum kooda matror yugathil pogum karindhe

Karindhe erindhum veditha pinnum udikkum kulambil uyirgal mulaikkum

[Even the Sun (which is thought to have constant source of light} will perish one day in a different yuga..

 However, life will emerge out of the debris of the burnt and destroyed sun (a la Big Bang theory)]

Mulaithu murikum thulirkum vaazhai thaan maranathuku ulle vetihadhu vidhayai 

[Even the plaintain plant provides for a seed of life when it dies]

Vidhaithidum unnai pol oru uyirai uyirthu vilangum en kavidhai vilangum kavidhai vilangum(Oooo..)

Vilangi pulangidum vamsam vaazha vaazhum naalil kadamai seiyya

seiyul pol oru kaadhal vendum Kaadhal vendum (seiyul pol oru )Kaadhal vendum (seiyul pol oru )

Vendiyathellam vaitha oruvan..saavayum vendi setha kadhaigal aayiram undu

[Self explanatory]

Its not over yet.. To give meaning and context to the song, even the lyrics are written in such a manner that the last word of the every sentence is the first word of the next sentence (i have highlighted by making the relevant words in 'bold') thus possibly bringing the meaning that every 'end'(death) has a 'beginning'(birth).. and every beginning has an end.. 

What lyrics !!! - 

SALUTE

P.S. - I am no Tamil Scholar..  I am just a fan of pure awesomeness. 

Simply the best..

I'll give you reasons (with some examples) why I am a Kamal Fan.

The examples that I am going to quote are from his Latest movie Unnai Pol Oruvan.This is a film in which he exposes some of his intelligence for us to find out the inner meaning unlike Hey Ram(on which I can speak for 5 hours non-stop or may be even do a do a Thesis.)or Dasavatharam (on which I can speak for two hours)where the films are full of Intelligence wanting to be grabbed.

Now..Lets see what 'Unnai Pol Oruvan' seeks to offer.

Refresh you memories.. Let's play a game.. (this is for those who have watched the movie)

If you already knew the points I have quoted by seeing the movie , rate yourself with 1 point.If you had heard it from someone, rate yourself 1/2. If you are knowing this for the first time , obviously rate yourself with a ZERO.

Be honest..

Lets start..

TEN Things I Bet you would not have noticed in Unnai Pol Oruvan.
(I'll be very happy if you prove me wrong)
We'll start with easier ones..

1)(I think you will know this)Musharaff and Bush puppet conversation.Musharaff calls Bush on September 10th 2001 and not September 10th any other year. Top comedy..

2)Terrorist Abdullah taking a dig at Narendra Modi. "Gujaratla Modi Patha theriyum , Gaali Panniduvanga". Terrorist Abdullah in fact is making a reference to "Best Bakery Case" in the above dialogue.(just refer to the case if you have time, you will understand)


3)Kamal:-'Mahatma Gandhi was ambidextrous'.Unfortunately I am his fan too.Enakkum Edhadu-Valadhu bedham Kadayaadu..except unfortunately ezhudapodhu thaan..'- Kamal once again proving he is a pseudo-communist.


4)Mohanlal :- Anything that is Lawful ?
Kamal :- Laughs..
Mohanlal :- What..?
Kamal :- Its an Inside Joke.I have many in laws.
Abdhu'law',Ahamadu'law',Inayatu'law' & karamchand 'law''law'.
(Wow what a dialogue)!

Is the going getting tough to score..??

5)Again Musharaff and Bush Conversation.(This is shown inside a Jail where a
constable is watching the programme).

Natasha :- Is Pakistan committed to rooting out terrorism ?
Musharaff:- Yes.. Yeh Mera 'Taliban'..oops.. Yeh Mera Abhiman hai..
( A dig at Musharaff.. Superb comedy).


6)Kamal while speaking in that 'karu varuthal' scene.
Kamal:- 'Apa andha ponnuku dress koduka endha Ramakrishnanum, Lal krishnanum , Radha Krishnarum varala...(Obvioulsy a dig at Lal Krishna Advani).

7)"Cut the green and connect red and blue."-.Kamal says this dialogue when he explains how to defuse a bomb.(Give importance to colours , you will understand.)

8)Again.. Kamal after speaking the 'karuvaruthal' scene , wipes the tears with the Gun.A clear message'Terrorism to be attacked by Terrorism'.

9)His digs at our CM.
Mohanlal:- Nee kupadra koralukkalam CM varanumnu edhir paarkiriya?
Kamal :- 'Election apa sonnanga.. Parava illa , avangalam Bomb vedicha aparam
varatum'
Then..
Mohanlal:- 'CM paathukittu irupparu.. tell in tamil."

Mohanlal:- "CM will not speak... Chief secretary will not speak..
Who am I ? Police Commissioner - Nothing but a glorified constable. Naan pali aadu..You are welcome to my funeral.

10)My favorite... All the 'bags' that Kamal keeps at different places will be embossed with the letters.." I Love INDIA "..(Notice it the next time you see the movie.)

How much have you scored.. ??
a)10-10 (Impossible.. unless you are Me)
b)7.5-9.5(You must be his fan..You Watch Movies with some purpose. Kudos)
c)4.5-7.00(You have to improve.. You have all the capabilites of being a kamal Fan)
d)1.5-4.00(You are just not there.. U like different movies but U are not fit to be a kamal fan)
e)0.00-1.5(Your favorite films 'Vettaikaran' , 'Jaganmohini' are around the corner..Please dont disturb us..)

Someone recently asked me..."Why Kamal ? Why are you his Fan?".
I replied ... " He is Simply the Best around"..

P.S.
People have asked me about the article by 'Nani' in Kumudham..
I have seen lots of these nuisance makers..All I can Say is..
"Mr Chani.. oops..Nani .. Get Well Soon"...

Hey Ram ! -- The Master Piece of Indian Cinema

HEY RAM - The Film that made me a Fan , sorry Devotee of Kamal Haasan.

Not just the plot of the story but its narration stands apart.The highlight of this film is the insertion of fiction into reality/History.

Its my salutation to the greatest film of India.

It's December 6, 1999, and in a Chennai racked by communal violence on the 7th anniversary of the destruction of the Babri Mosque in Ayodhya , a retired archeologist named Saket Ram ( Kamal ) lies in the bed dying of heart disease.

Keeping vigil at his bedside, his grandson, a Tamil novelist, narrates part of the old man's life story to the attending physician — a true story that he implies to be stranger than any fiction. It begins 53 years before, with Ram (Kamal) and a Muslim colleague, Amjad (Shahrukh Khan) working under the direction of British archeologist Mortimer Wheeler in the excavation of a grave in the 4,000 year old Indus Valley city of Mohenjo Daro (the "mound of the dead").

But their painstaking work to uncover the mysterious first urban civilization of South Asia is abruptly cut short by the announcement of the imminent division of the Subcontinent into two nations. Mohenjo Daro will now be in Pakistan, and Ram must return to his home in Calcutta.


So begins Kamal Haasan's daring and controversial meditation on the violence of Partition and its lingering traumas — a subject virtually taboo in commercial cinema for half a century. While retaining the look and sound of a commercial venture this 'ought to have been' blockbuster (Sadly.. It was not), Kamal's cinematic epic ventures deep into the terrain of communal conflict, examining the process by which human beings create and destroy their intimate "others."


Most of the film unfolds in flashback within the brief span between August 16, 1946, when the future "Father of Pakistan" Muhammad Ali Jinnah's declaration of a day of "Direct Action" by Muslims sparked communal carnage in Calcutta, and January 30th 1948, when a Hindu fanatic's bullet felled the "Father of India," Mohandas K. Gandhi at a prayer meeting in the garden of New Delhi's Birla House.



These watershed events shape Saket Ram's personal trajectory and drive him, at times, to the brink of madness. The film offers an unprecedented portrait of a traumatized survivor of events that others seek to forget, and reopens some of India's most painful wounds — though ultimately pointing towards redemption.


HEY RAM opened in February, 2000 to a lukewarm response . The film’s poor reception—or rather, near invisibility—in India partly reflected the reaction of angry politicians and bewildered critics (India Today praised its "technical wizardry" and acting, but called it "hard to categorize"(Bastards.. These so called critics do not know how to rate a film !). Many distributors (always jittery about cinematic subjects that are “too controversial” or “too smart” for the audience) pulled it from their areas within days of its release. The right-wing BJP party tried to have it banned as an “anti-Hindutva” film, while some Congress Party leaders denounced it as “anti-Gandhi”—the BJP’s reading appears, to me at least, to have been the more astute and certainly more in line with the director’s stated intent. Some leftist intellectuals, however, complained that the film’s refusal to demonize Hindu communalists and its “seductive” use of their imagery entirely subverted any progressive ideological agenda. If nothing else, such glaringly bi-polar interpretations at least suggest the intentional complexity of this courageous and groundbreaking film about individual and collective madness.

Its essentially a film about Gandhi's Ideology. The film offers us a humanized Bapu who is cranky, humorous, and not always sure of himself—a portrayal (like Real life Rajinikanth) that I, for one, much prefer to the flat and pontificating Mahatma of Richard Attenborough's Gandhi, whose every utterance was powerful or deemed to be so.


Kamal constructs his tale with multiple layers and ironies, involving three principal narratives, two of which are explicit and one implied. The frame narrative of the dying archeologist Saket Ram—a man who made his living digging through layers of the past—anchors the tale in the present (of the film’s release), at the turn of the 21st century. It also invokes (through the symbolic date of December 6th) the rise of Hindu nationalism during the 1990s as a potent force in Indian politics and the attendant increase in communal riots and massacres: events that led many Indians to a re-examination of long-repressed memories of the Partition violence in which their nation was born. As Saket Ram struggles for his life’s breath (muttering, "My nightmares are coming back to me...") the film hints at a nation struggling with its memories in the poisoned atmosphere of religious identity politics that have bred renewed hatred, fear, and violence. Since “Saket” is one of the ancient names of Ayodhya and also the name, among Ram worshipers, of the heavenly and eternal “city of Ram” to which they aspire after death, the hero of the film is also “Ram of Ayodhya,” and his own physical passing away is destined to fall on the anniversary of the day on which the earthly Ayodhya witnessed an act of desecration that would reverberate throughout India during elections.



The second explicit narrative is the flashback that comprises most of the film: a recapitulation of roughly a year and a half of some of the most turbulent and momentous events of 20th century South Asia: Partition and its aftermath,(He calls the Indo-Pak partition as the- " World's Biggest Political Divorce"). Independence, and the murder of Gandhi. This part of the film is exhaustively researched and fastidiously recreated, and most of the characters depicted (with the exception of the hero) are based on real persons.


The Brahmin intellectual Sri Ram Abhyankar who preaches Hindutva (the ideology of India as a “Hindu nation”) and presses on Saket Ram a banned book that is probably Veer Savarkar’s real book , the Bible of early Hindu militants; the discontented and formally deposed central Indian Maharaja and who supplies weapons to Gandhi’s would-be assassins (as the Maharaja of Gwalior allegedly equipped Nathuram Godse); and the once-prosperous Sindhi businessman Lalwani, who has lost everything in the Partition violence and seen his wife brutally slain — and who is a stand-in for the many traumatized Sindhis (including L. K. Advani) who have played a prominent role in the political rise of the Hindu Rights.

Who else but Kamal could have inserted such realistic strands of identity, within the fabric of fiction . Other strands include a graphic meditation on the relationship between communal violence and male fears of impotence, coded as “loss of honour” through failure to protect women: fears that are horribly addressed through the violation and (often) mutilation of women of the “Other” community.

I read somewhere that Godse’s famous defense during his trial — that he and his co-conspirators “wanted to show that there were still men left among the Hindus”— is suggested by the lovemaking that follows Saket Ram’s initiation into the plot to kill the Mahatma, culminating in a drug induced hallucination in which he fantasizes his wife’s body turning into an enormous gun. Another hallucination poses the hero himself in a graphic rendition of the latter-day Ayodhya agitators’ favored propaganda poster of an “angry Rama,” muscular and armed, gazing determinedly into a gathering storm.


Indeed, the third and subtlest level of narrative here is the Ramayana saga itself, both in its own basic structure and in its myriad reinterpretations, especially as a socio-political allegory. The film’s Ram, like the epic’s, is traumatized by the loss of his wife and sets out on a quest for revenge that eventually carries him across the length and breadth of India. In the film, this journey includes a second marriage, albeit half-heartedly contracted, with a spirited girl named Mythili (“the girl from Mithila,” a favorite epithet of the epic’s heroine Sita), who, like her namesake, unsuccessfully urges her husband to abstain from violence.


Instead, Saket Ram makes his fateful decision to join the plot against the Mahatma during a folk drama in which an effigy of the demon Ravana is burned: hence during the autumn festival of Dusshera which climaxes the annual Ram-lila pageant and commemorates the demon-king’s death (and which was also the date chosen for the founding of the R.S.S. in 1925, the extremist organization whose rabidly anti-Muslim ideology nurtured Godse and his followers). And like the epic Ram, the film’s hero battles “demons” throughout much of the story: those of his own madness and grief; the innocent (and guilty) Muslims he kills in revenge for his first wife’s death; and Gandhi, on whom he eventually focuses as the Ravana or arch-demon, the “poison tree” (in Abhyankar’s words) behind the whole “Muslim problem.” At last, he turns against the demons of hatred and violence within himself, reunites with a brother named “Bharat,”(Bharath) reverently accepts a pair of sandals, and achieves, through suffering, a kind of personal “Ramraj” that Gandhi himself would have endorsed: the dream of a multi-religious, harmonious India.

Saket’s dream is shown to survive his death, to be reaffirmed as Amjad Khan’s widow joins the aged Mythili in mourning her husband, and as Tushar Gandhi (the Mahatma’s actual great-grandson, though admittedly not much of an actor) joins Saket Ram’s fictional grandson in the deceased archeologist’s study: a museum-cum-shrine to his obsession with and devotion to the man he once wanted to kill. The film’s final image of these younger men opening shuttered windows to let in the daylight suggests its director’s own obsessive labor to illuminate and examine, with lights and camera, several of modern India’s repressed pasts. This sequence is accompanied by the most memorable of the film's five songs (all of which are sensitively inserted into the storyline, and reflect the versatility of Ilayaraja) — an anthem strongly critical of communalism.



Ultimately, one’s response to HEY RAM will depend on a perception of the plausibility of Saket Ram’s eleventh hour conversion from Gandhi-hater to Gandhian, which in turn hangs on a momentous surprise reunion with Amjad in the twilit lanes of Old Delhi.

Shah Rukh’s Splendid performance during this dramatic scene—and his wounding by a Hindu mob caused me to virtually relive, with Saket Ram, his own wife’s suffering,
I wept the last fifteen minutes. Movies seldom do this to me. It did. That's Kamal Haasan.

The film boasts gorgeous cinematography and splendid sets that meticulously recreate the period, including scores of antique automobiles, and a recreation of Mohenjo Daro dug into the Tamil earth outside Chennai. The assassination scene in the garden of Birla House, though actually shot in the South Indian hill station of Ootacamund, was so exhaustively researched and convincingly recreated that the actress playing Amjad’s mother—who, in fact, had been an eyewitness to Gandhi’s slaying as a girl of twelve—was reportedly overcome with emotion, necessitating a halt in shooting. Superb performances by an all-star cast include cameos by veterans Girish Karnad and Hema Malini, and a heavily-made-up Naseeruddin Shah, who looks surprisingly convincing as the aged Mahatma.

People who really understood the film will agree that Gandhi is the real hero of the film. The fact that he comes roughly around 30 minutes is the greatness of Kamal’s direction and way of story-telling!! He would have shot the present in black-n white and the past with Gandhi in Colour and as soon as Gandhi is assassinated, the picture turns Black-n-white again. Just to show that Gandhi gave us Light and it turns black-n-white after his death. Towards the end, Saket's Grandson gets the key of one of Saket's private rooms and he visits it with Gandhi's real Great Grandson. The movie finishes with both of them opening the windows carved on an image of Gandhi again sharing the same thought that Gandhi showed light. Again he would shown the fire both in 1940s and present in colour depicting how when everything’s changed Violence has remained forever and how we haven’t learnt our lessons fully.


The films humour is the best I have seen for a long long time. The Dialogues are the strenght of the film.

Special mention for Vasundhara Dass. She plays mythili , the 'Intelligent' wife of Ram.Without any doubt , I think its the best female charachter in Indian Cinema.

To you Kamal Haasan , Thanks for Giving Indians “Hey Ram”, None could’ve done even 10 percent of this so forget anything closer . HEY RAM is an important and must-see film, a landmark achievement in Indian Cinema.

Its the best film I have ever seen and I am very Confident in saying that this would have been the greatest film I would have seen until I rest in peace for the simple reason that everytime I watch it , I find something new to interpret.

It changed my Life ... I am sure it will to you too.

Bibiliography:- Google and Wikipedia.

Great Dialogues by Kamal Haasan...

Just read through and you will know how great a dialogue writer is Kamal ...

Dasavathaaram

1)King : உன் உயிர் போவதை இருந்தால் உள்ளேயே போயிருக்கும்.
ராமனுஜன் இருக்கும் இடமும் யாம் அறிவோம்.
ராமானுஜனை இங்கு வரவழைக்கும் சூத்திரமும் யாம் அறிவோம்.
தென்புலம் எங்கும் சிவா நாமம் மட்டுமே ஒலிக்க வைக்கும் சூச்சமமும் யாம் அறிவோம்.

Nambi : என்னுடைய அறி. உன் வாயாலேயே எத்தனை முறை 'அறி' 'ஓம்', 'அறி' 'ஓம்' என்று சொல்ல வைத்தான் பார்த்தாயா குலோத்துங்கா?

2)Naidu: Tanjaavuurunnaaa, tamil..
Govind: Look, im a scientist.......
Naidu: Wait wait wait wait... India lu, largest spoken languagu, hindi... Second largest edhi theriyuma??
Govind: thamizh
Naidu: (shaking his finger) telugu.. Moonavadhi dhaan tamizh.. Naa telugu.. deputation la tamil naatuki vandhi tamil kathikitu ivlo nalla pesren. nee tanjavooru english la pesre aprom epdiya tamil vaalum..
Govind: Ungala maari telungu kaaranga vandhu vaazha veppaanga sir...

Govind: thamizh aarvamum irukanum adhey samayathula vignaanam um therinjirkanum..
Naidu: Apo abdul kalamiki phone potu kudukatuma?
Govind:Ya, if u can..

3)
Bush:Now we have an intercontinental ballistic scientist.How did he get away?
Asst:dont know Mr.President.He might have couriered himself.Its complicated but i can explain?
Bush:If its complicated then don't explain

Bush:-. now explain wer's the plane??????
PA:in Afganisthan
BUSH: perfect timing.
PA:shall we stop that plane there?
BUSH:no.Instead tell me where it is going
PA:INDIA
BUSH:which part?
PA:chennai
BUSH:Gentleman get ready. we might have some problem
Bush:Get Mr. Manmohan Singh on the line..

Scientist:sir v need large amount of nacl to destroy that bioweapon
BUSH:Cant we throw atom bomb over it?

fletcher : you can't get 'away' with this
govind :" no, I can get 'a way' with this

ANBE SIVAM

1)Interaction between Madhavan and Kamal

"evlo panam koduthalum entha vasadhiyum kedaikatha naadu sir ithu.thats india for u."

"panam kodutha ethuvenalum vangiidalam nu nenaikravanga irukkara varaikkaum that will be india for u."

"athaan soviet union azhinchiduchula apromom yaen communism nu athaiaye pidichindrukeenga"


"ok.mr romeo.oru velai tajmahal azhinchiduchu na neengala love panratha nirithidveengala"

"clever very clever.but mr sivam love is a feeling"

"communism mum athaan oru feeling. karl marx athai pathi peasrathukku munadiyae neraiya perukku antha feeling vanthuduchhu.itha pathi ellam unga kitta naan pesakoodathu mukyama neenga athai pathi peas koodathu"

"yaen? yaen.?"

"because .... train vandhiduchhu"

2)The scene where Madhavan Invites Kamal Sir For his wedding and he tells Kamal Sir that he's like a brother to him.

Kamal Sir : Idha yen munnadiye sollalai ?

Madhavan : Sollale na... Thonale...
.
.
.
.
.
.
Idhu enna kaadhala asingama sollikute irukkarthuku!!!

en kalyanam kudumbam irukunu poi sonninga...
"its jus to overcome the complex that i have ...walking stick madhiri............MANASU NONDA KOODATHILLA"....

3)
maddy:enna kadavul idhu...sorry.. sorry.. kadavul irrukaru..
kamal: aamam..kadavul irrukaru..
maddy:oh..ungalukku kadavul nambokkai irruka..
kamal:irruke.. edho oru paiyannuku oodavuringale .. "Neenga than kadavul"..
maddy: crazy..
kamal:enna naanum kadvul..
maddy:adthanen parthen..
Kamal: Mr.Ars, you are a good man.
Maddy: So are you.
Kamal: I know.
Maddy: You are a last word FREAK!


HEY RAM ! - The BEST OF THE LOT ...

1)
The scene where gandhi says, " See Mr.Uppili, even ur son-in-law is a Mahatma"
Saket : "No I am not!"
Gandhi :" Most mahatmas deny they are one..do u think I am a mahatma?"
Saket: "If you deny it, I shall deny you another denial"

2)
The dialogues by the maharaja:

a)" all the gates to the maharajas like me is closed!. So what's the point in opening only this gate??"

b)Abhyankar:"But thats a poor man's pappad"
Maharaja: " arrey in Sardar Patel Raj, Maharajas must learn to live with pappads"

c)"Blow my vegetarian hunter!!!"Only Passion , No Hunger .

3)
andhi: “Where do you want me to go?”
“To where people of your age go! To Himalayas.”
Gandhi: “This is my Himalayas. To die at your service is my Duty. I says stay here, one says go away. whom shall I listen. I will listen only to the voice of God”
“Which could be God talking to you through me! Why don’t you listen to this voice and go away!”
After his aid angrily cuts the family, Gandhi says its better that they vent their anger on me, rather than their Muslim brothers! He gets a reply, “Hum koyi Mahatma nahi Bapu”
At this juncture, Gandhi moves to meet Saket and jokinly says “These girls seem to remind me that I am a Mahatma. Yesterday, I slipped and fell in a bathroom. Had I Died, the whole world wudve known I am not a Mahatma.

Saket is introduced as the man who saved Muslims in riots. Dialogues again:

Gandhi: “My Ram from the South”
Saket: Moves behind avoiding any contact with Gandhi…
He then learns Saket ties the rakhi to Nafisa every-year
Gandhi: “When did she become your Sister”
Saket: “Before my country was torn into pieces”
Gandhi: “See Mr.Upili ur Son-in-law is also a Mahatma”
Saket: “No Am not”
Gandhi: “Most Mahatmas don’t agree they are one! Do you think I am a Mahatma?”
Saket: “You denied by saying you are. So shall deny you another denial” (Best dialogue clearly describing what Saket felt about Gandhi)
Gandhi: “About Amjad, I am deeply sorry. You know Ram , I am willing to take every form of communal hatred in the form of a bullet”
Saket: “ That’s exactly what Amjad said before he was struck down”
He then asks Saket to accompany him on his journey to Pakistan and retires to his room
saying “Kunjum KunjumTamil theriyum Namaku. Nethiku vango! Nethiku is tiomorrow right?”

On hearing Nethiku is yesterday, Gandhi jokes “Yesterday…..So my critics are right. They say that this Gandhi is still stuck with yesterday

4)
Amjad: “Nigajatha sollu nee enga Muslim’sa kola varaliya (Saket shakes No). Allah, I don’t know why you carry this gun, but you need my help to take you out.”

Saket: “I don’t think so. Nanae thapichiducvae”

Amjad: “ Thapika Gun use vannu-va illa?”

and then they run to hide in another place….

Saket, not tolerating it any more murmurs “Pongo,Ellarum Unga edathikae Pongo” Amjad: “Ellarayum enga da poga solra?”

Saket : “ Un Jinnah oda Pakistan-ku”

Amjad: “ Jinnah oda sondha-magalae, India-dhan en Nadu nu erundhuta. Yarayum edhuku da poga solar, Edhu enn Nadu!”

Saket: “ Un Nada, Kybher vazhiya vandha videshi nee”

Amjad: “ Nan videshi,Nee swadeshi (chuckles disbelievingly). Un ramar mattum enna indha Nadu dhana”

Saket: “ En Ramar pathi pesadhey”

Amjad: “ Seri seri un Ramar pathi pesala, but enaku therinja Ram pathi pesalaam-la…What has happended to you Ram?Tell me Ram, Am I not your Brother?”

Saket: “Adhunala dhan da nee innum uyiroda eruka!! Amjad en Manasu marathikula dhaivuseidhi nee poidu”

5)
I don’t know Bhairav. I only know Ram. He saved my life”

After being pestered about Bhairav, Amjad says” Edhuku munnadi nan andha mirugatha pathadhilla.( indirectly reffering to the animal or violent mind in Saket) . I only know Ram, He saved my life and dies.”


Tats Kamal's Dialogues for you... waiting for many more such dialogues..

Remember MARUDHANAYAGAM of KAMAL !

See the trailer of marudhanayagam.



I feel very sorry for him.Really. It could have been a masterpiece!!!

Happy B'day Kamal Hassan !

I know this wish is belated , but nevertheless its a wish. On occasion of his birthday ,I decided to rank his top 20 films( a very tough job).! He has done 185 films so far and the films that I have mentioned the films that came to my mind instantly and there is every chance that I may have overlooked some films.

Lets start this amazing count down....!


20)Sigappu Rojakkal
Truly a trendsetter.
An urban film from the rural director.Theme of the film very new.


19)Pesum padam
A film in which no one speaks. Superb Effort to try something new.


18)Ek Duje Ke Liye
A film which is talked about even today.Kamal's fame rose up in Bollywood.

17)Salangai Oli
A film which shows the life of a Dancer.Superb performance by Kamal.

16)SingaraVelan.
A laughriot.Sense of timing in this film is awesome.

15)MichaelMadanaKamaRajan
A film in which Kamal acts in four charachters with ease.Another laugh riot.


14)Vetaiadu vilayadu
Technically the best film Kamal has worked so far.The 2nd best cop role for Kamal.

13)Aburva Sagodharargal
A film in which he plays one characher as a dwarf.Simply superb.

12)Virumaandi
The screenplay of this film attracts me.The same story from differnt viewpoints!.

11)Punnagai Mannan
A failed suicide attempt and a Chaplin copycat.Wonderful film.

10)Avvai Shanmugi
An inspiration from Mrs.Doubtfire.Best comedy of Kamal.

9)Moondram Pirai.
The railway station climax that still brings tears when viewed.

8)Aalavandhan
I still cannot believe that this thriller flopped.

7)Kuridhipoonal
This is not an Indian film.A Great film that is sadly less talked about.Best cop role for Kamal.

6)16 vayadhinile
Amazing performance from kamal.A super vilage classic.

5)Nayagan
A hot favorite for many people.Mani Ratnam's best film.

4)Anbe Sivam
A film which I first thought would be full of atheism,but was spellbound and proven wrong after watching it.

3)DevarMagan
A classic !. No words to describe.flawless.

2)Indian
A Freedom fighter's fight against corruption.Truly shankar's best film.

1)HeyRam
My favorite.
Truly a masterpiece.!




As you saw its not that hard to prove that kamal is the greatest cineactor of India.
Once again a very happy B'day to Padmasree.Dr.KamalHassan.

P.s. As i said before i might have overlooked certain films(special thanks to sharvan for helping me out!).Please post your personal rankings and also the films you think deseve a place in this rankings and also which do not.

Partha Mudal Naale ..!!