Between Reviews: Full Moon Rising
FULL MOON RISING
APR 12, 2009 – IN AN OFFICE WHERE WALLS OF MUTED GREEN set off the glint of photographs and the glitter of trophies, K Balachander reminisces about his roots in theatre. If there’s a gentle hint of irony in this reflection – the mode of expression being employed is, after all, the affectionate flashback, a cinematic trope with little currency on stage – the director appears unaware of it. He hasn’t directed a play since Navagraham in the late-sixties. Before that, however, there was an unstoppable train of blockbusters – Major Chandrakanth, Server Sundaram, Edhirneechal, Neerkumizhi, Naanal. The latter played out on a proscenium divided in two, the curtain descending on one half as the action shifted to the other. In sharp contrast to this vertical bisection was the horizontal rupture of the set for Edhirneechal, which took on the aspect of a two-floored tenement.
“This was the first of its kind,” Balachander states, coming off less like a superannuated mountaineer looking back, with entirely justified pride, at the conquests of several virgin peaks, and more like an amateur climber at base camp looking skywards, shiny-eyed at the prospect of conquering several more. “Whenever I went to see plays in the city, I returned with the urge to make a comeback to theatre.” And these cravings have resulted in Pournami (Full Moon), Balachander’s first play some four decades after Navagraham, after which a stupendously prolific film career left little time for the arduous logistics of mounting stage productions. “Pournami,” he clarifies, “is the name of the protagonist. Plus, the story takes place over a month, from one full moon to the next, under a set that depicts a pournami.”
That’s about all he’ll divulge about the play. As an afterthought, he adds that it’s something “fresh and contemporary,” and that it isn’t merely a couple of hours of wisecracks to alleviate the tensions from a lingering day of drudgery. And he hints that the play will be “ahead of its time,” the way Achamillai Achamillai was ahead of its time in depicting the criminalisation of politics, the way Avargal was ahead of its time in its treatment of divorce and the single woman, the way Kalki was ahead of its time in the casual candour with which it addressed surrogate motherhood. “It’s based on a small, poignant, powerful incident, and it will have my trademark controversial touch,” he concludes.
But at the same time, Balachander wrestles with the awareness that he cannot be too controversial. “The theatre audience primarily consists of sabha members, and I have to cater to their traditional views.” What he does promise is a modern touch. “When I watch some of my older films today, I want to hang my head in shame.” He singles out Iru Kodugal, exalted in its day for an exchange that revolved around the phonetic wordplay between “life” and “file,” and also Aval Oru Thodarkadhai, where an enraptured audience burst into applause over a line of dialogue that endorsed, before marriage, pride (garvam) but not pregnancy (garbam). “At that time, these dialogues were appreciated. But for today’s audience, they are too sentimental and melodramatic.”
That may not be entirely true. These punchy snatches of dialogue – they’re literally termed “punch dialogues” – still exist; it’s just that they’ve migrated from the heroine-oriented family drama to the hero-oriented action blockbuster, where their function isn’t so much to emphasise human conflict as extol the superhuman nature of the leading man. That’s something Balachander is extremely relieved about. “There is more freedom in theatre – fewer ills like fights and item songs and hero worship.” And though he regrets not having seen Bala’s Naan Kadavul – due to Pournami, rehearsals for which began on February 1; the play will debut on April 18 – he prefers Hindi films like A Wednesday and Taare Zameen Par. “These themes attract me. I think I should attempt such subjects in theatre.”
Even at 79, Balachander hasn’t begun to contemplate the well-deserved prospect of a life spent in serene repose. “I don’t have any friends. I don’t go to clubs or parties. I can’t even go walking because people catch hold of me and engage me for hours together.” So it’s work that keeps him going. And yet, he admits, “After three hours of rehearsal, the body becomes tired. After an hour of conversation, I begin to feel exhausted.” This confession is spurred, possibly, by the strain of shepherding the actors of today, whom he regards as “very different. They don’t have involvement. All this prompting of dialogues has killed the innate talent in Tamil cinema. It has become a mechanical affair, and in this environment, I feel like a fish out of water.”
Hence the stalling in his plans for the remake of his seventies’ hit Manmadha Leelai. He readily concedes there’s no one like Kamal Hassan today, and even if there were such an actor lurking in the fringes of the industry, he’d be terrified of being compared to the original. The other deterrent is the current working atmosphere. “Earlier, everyone owned the film. Today, people do their work and leave the rest to the director. That sense of collective proprietorship isn’t there anymore.” A politically correct corner of the mind informs Balachander that he’s been, perhaps, a little too forthright – but instantly, the elder statesman in him takes over. “I shouldn’t be saying all this, but if I don’t, who will? That’s why I have decided, more or less, to remain in theatre.” Then he adds, with the barest tinge of excitement, “I already have something in mind for my next play.”
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“When I watch some of my older films today,I want to hang my head in shame.”
how true. I saw Avargal, Aval Oru Thodarkadha, Nizhal nijamagirathu and felt the presentation was in-the-face, melodramatic.
He was good no doubt. In fact very good in those days. But his movies are in no way timeless classics. In that way he is overrated.
Tambi Dude: My view is the exact opposite. The 70s period of KB is my absolute favourite. Avargal, Nizhal Nijamagiradhu, Thappu Thaalangal… some of my favourite films in all of Tamil cinema
Boss, its kamal haasan and not kamal hassan.
on kb :- Do u think KB overdoes symbolisms in his movies?
Thanks for this BR..
KB is unarguably my favorite-be it from the 70s or 80s or 90s..
One movie of KB which I have found quite inspirational(KB rates it among his very best along with ‘punnagai’) but which I have not seen people discussing much is ‘unnal mudiyum thambi’(I felt elated when I saw a mention of it in your piece about Gemini Ganesan).
The subject matter may be dated, but the treatment (and I mean every scene) in KB movies is relevant long after the subject matter’s expiry date.
Maybe I am a tad biased to KB, but the treatment to every scene is why I rate KB one of the greatest (even ahead, as blasphemous this may sound, of Sridhar and Mani).
Add to this his ability to wring every bit of his team (I suspect he could get the granite of Yosemite to weep, if he chose to!)
On a sheer trip down nostalgic lane ( a streak of masochism no doubt), recently saw some of the older KB/Kamal movies and they continue to hold my attention.
On a side note, watched Veena Balachander’s movie and Andha naal continues to enthrall (notwithstanding the lack of a surprise, now that I know what happens)
nishanth: Boss, at least according to his office, it’s “hassan” wonly.
Hari: UMT is a perfect half-and-half movie for me. I love the first half, the point till Kamal leaves the house. It’s such a fantastic portrait of joint family dynamics (and particularly, one steeped in Carnatic music). But once the prachaaram starts, sorry boss, I’m outta there
Bala: “The subject matter may be dated, but the treatment (and I mean every scene) in KB movies is relevant long after the subject matter’s expiry date.” It’s interesting you say that, because IMO it’s the other way round. The treatment is what dates his films somewhat, but the subject matter, I find, is timeless. (Of course, I’m not talking about the 60s films. There, I agree, the subjects are themselves a little dated.)
Tambi Dude: Not timeless classics? What is a timeless classic anyway? To do what is being done today, in the 70s? To do something in 70s that you enjoy even today?
Yes, times have changed. Film making idioms have changed – some good and some, horrendous. The fun is not to watch those 70s with today’s eyes. I mean, how can anyone not be impressed with the incisive dialogues in Moondru Mudichu? That maturity in characterization is indeed timeless and not found even today!
The only “way” to watch a KB film now-a-days is to read the story.
The story is fantastic ., everything else including the acting is dated and that includes his best movies – UMT, PM, or Sindhu Bhairavi, AA (take your pick).
Venkatesh: Dude, come on. Are you trying to say that there is no way to watch older films than by viewing them with today’s eyes? Surely, after some initial recalibration, you can slip back to the era the film was made in and subsequently allow for the “datedness.” Vijay and I had a similar dishoom-dishoom in this post
No movies releasex this week in chennai? You are lucky – ma)ankh shekar et al are traumatised after watching the ajay jadeja-vinod kambli movie that released this week. Some benefits of being holed up in chennai?
Aah BR, i meant only KB’s films., not any older film.
For some reason i havent seen any KB film which i found “cinematic” ., to me they always looked very stagey,overdone and i have seen quite a few of his films. His taste in music and subject matter is unquestionable but as a movie going experience they simply don’t hold my attention.
Now on the other hand i can watch Aval Appadithan,Mullum Malarum anytime anyday. I still have to recalibrate but i can watch. As an example Mahendran’s movies though dealing with similar controversial matters are imminently more watchable.
Added note for above : As a director discovering actors he probably is peerless but as a director per-se ., i don’t get it.
May be i “had” to be there to experience it,
I am now going to read the dishoom-dishoom BR ..
Venkatesh: On this Monday, I’m not in the mood for a… sandai
But seriously, I know a lot of folks who break out in a rash at the mention of KB. So peace.
“Tambi Dude: Not timeless classics? What is a timeless classic anyway? To do what is being done today, in the 70s? To do something in 70s that you enjoy even today?”
a timeless classic is an old movie which I enjoy watching today as much say 20yrs ago. For me at least KB’s films do not fall in that category. It is not KB alone. I find few others like Hrisikesh Mukherjee also in that category.
There are exceptions. I recently saw Aandhi and was bowled over by it. Even today the film was eminently watchable.
But by and large it is our movies which fall in that category. Not hollywood classics.
I think KB lost it in the 80s – post Thillu Mullu, Thaneer Thaneer period. Sindhu Bhairavi, Punnagai Mannan etc. were watchable because of Raaja’s songs more than KB’s direction. I loved Rajnikanth’s characters in Avargal and Moondru Mudichu.
BR : peace indeed ..
The feel-good, lump-in-the-throat youtube video of the moment. I mean, WOW!
Before her incredible performance, she was just this reclusive woman whose only companion was her cat Pebbles. Talk about true-like Hollywood endings
There! It’s finally happened! Ugly people are the new beautiful people! OK, I’ll stop with the exclamation points. Thanks brangan.
Thanks for the links Rangan, they were indeed WOW.
BR, any reason why you keep going back to the likes of Gautam Menon, KB for seconds? You already had done interviews/columns on KB sometime back.
Apart from the previously mentioned music and subject matter, his penchant for comedy and knack for spotting/grooming comic talent(from Nagesh to Vivek) too will probably remain unmatched in Tamil cinema for a long time. He was just a great talent spotter, period.
His movies have the polarizing effect. One would probably hate David Mamet’s movies too if they thought KB’s movies were stagey or talky. Just a simple matter of taste. I need much less recalibration to watch KB’s 70s stuff anyway than I need for, say, the “Pa” series movies of Sivaji and Bhimsingh. The maturity in the themes, the sharp wit in his dialogue and the unique characterizations will all be remembered.Especially at a time when Tamil cinema is devoid of good writing and seems obsessed only with mise-en-scene.
Deepauk M: But isn’t it really heartwarming? I mean, if the same thing happened in the climax of a Hollywood film — with all those cutaways to the mocking audience, with the presenters behind the screen practically reducing her to a dummy — we’d roll our eyes at the blatant manipulation. But this is so genuinely affecting
Vijay: Enna pannradhu pa. Kamal, Bala-laam namma kitta doo vittutaangale
But seriously, I was asked to do this because he’s coming out with a play after 40 years. Because the Sunday paper goes to all the southern states, so more visibility – that sort of thing. BTW, I’ve done only one earlier interview with KB.
brangan: I’ll admit the ole GRCA president, in spite of relapsing and having to go through the 12-ste again, finds it quite heartwarming and all that. But I dont think reality television is beyond some blatant manipulation.
In other GRCA news: http://www.indee.tv/films/view/signs/
and an early P.T.Anderson short: http://www.indee.tv/films/view/cigarettes-coffee/
Hollywood classics appave ivarukku purinjirikkadhu. Ippovum purinjirikkadhu. Adhanala ippovum adhe feeling dhaan varudho ennamo. Indha kb edutha philim ellam purinji tholaikarudhunala recalibrate panna mudiyalio?
Even purinjidhunu sonnalum, epdiyum adhu alien culture – appovum ippovum namakuu adhu pathi therinja level ore alavu dhaan irukkum. Idhu namma culture. Evlo minute changes nadnadhirundhalum absorb panni iruppom adhanala kb movies ippo recalibrate panna mudiyalaio ennamo?
Idhula enna hollywood movies are timelessnu peela?udans?gaps?buruda?peter thangavelu?
That video was really something. Good for her!
Deepauk M: That signs video was very cute
Rangan…little bit off topic, Have u seen Ayan – represents good attempt at merging masala and logic ?
Deepauk M: You’re right. I’m not saying it hasn’t been edited for maximum manipulation — cue, dropped jaw of judge, and such — but even beyond all that, this episode reached out to me. What to do! Getting soft in my old age
karthik: Why “logic?” I had no such expectations and had a fun time nonetheless.
But is it really a “masala” movie? “Commercial”, certainly, but “masala”? I’m going to have to think about that.
BR: you are getting soft
, i for one cannot fathom the amount of coverage this has been getting.She is now all over the media here in the West – UK and US.
And BR in case you want to cry a bit more : http://www.youtube.com/watch?v=1k08yxu57NA&feature=related
Venkatesh: That’s not at all fair, because that particular aria will wring tears out of stone
But here’s some counter-remedy to all the warm-fuzziness surrounding these shows.
Groucho Marx: I find television very educational. Every time someone turns one on, I go into another room and read a good book.
Nuff said…
Did you see pournami ? doing a piece or a paragraph on it for the blog?
KB: Yes. No.
good you will not waste another between reviews on a stretched subject like this – didnt find anything that inspired you to write here – just an assembly line piece – let’ see, maybe some perusu should kick the bucket for you to get really inspired
.
(Yash Chopra? Even if you dont wish, your paper will force you to write if he kicks the bucket right?)
the background score by giridharan was excellent.I can see how much trust this Veteran had on this man after 40 yrs of entry into theatres!
Giridharan must be a star…
@ brangan :
Did you like the play ?