தீ..வாளி.. (ஹைதராபாத் பேருந்து விபத்தில் பலியான உயிர்களுக்கு என் அஞ்சலி)

வாணம் விட போகணுமின்னு

வண்டி ஏறி கண் அசந்தா

வானம் கூட்டிப் போயிருச்சே!

வழிப்பறியா ஆயிருச்சே!

விடுப்பு ரெண்டு எடுத்துக்கிட்டு,

உடுப்பு நாலு வாங்கிக்கிட்டு,

அடிச்சி புடிச்சி கெடச்ச வண்டி

வெடிச்சி வீணாப் போயிருச்சே!

ஆடுற ஆட்டத்துல

ஆனந்தமா தூங்கையில

அர மணி நேரத்துல

ஆட்டமெல்லாம் அடங்கிருச்சே!

ஆம்பளயா பொம்பளயா

அடையாளம் தெரியலயாம்!

அதுலயும் பாதி பேர்

ஆருன்னே புரியலயாம்!

எங்களத் திரியாக்கி

வண்டிய வெடியாக்கிட்டியே,

எமதருமராசா! பட்டாசுன்னா

உனக்கு அம்புட்டு இஷ்டமாய்யா?

என்ன பொலம்பி என்ன செய்ய! 

எங்க போயி நாஞ்சொல்ல!

எண்ண குளியல் போடும் முன்ன

எண்ணயில பொரிச்சிட்டியே!

கஷ்டத்தப் போக்க

நஷ்ட ஈடு தாராங்களாம்!

போன உசுர 'ஜப்பார்' தருவாரா,

அவுங்க அப்பாரு தருவாரா?

வானம் தொட்ட வாலி!

October 29, 1931 - July 18, 2013

நீர் மறைந்த தினத்தில் வானம் அழுததாம்!

கண்ணீரால் உன்னுடல் கழுவிப் பாதம் தொழுததாம்!

உன் கவிதைகளைப் படித்துப் படித்தே கவிஞர் ஆனவர் பலர்.

கவியில்லையென்றாலும் உன் சேவடிக்கு இது நான் சேர்க்கும் மலர்!

என் மானசீக குரு நீ! நான் பார்த்திராத

தமிழ்த் தாத்தா உரு நீ!

நான் இன்று எழுதுவதும் படிப்பதும் 

நீ முன்பு பற்றவைத்த தீ!

வாலியின் முன்னில் பலம் இழந்தவர்கள் உண்டு.

அது த்ரேதா யுகத்தில்.

வாலியின் பண்ணால் பலம் கொண்டவர் மட்டுமே உண்டு.

இந்தக் க(லை)லி யு(ல)கத்தில்.

உனக்கு அலாதி ப்ரியம், ராமச்சந்திரன் பேரில்.

அவர் பவனி பல வந்ததுண்டு உன் கவிதைத் தேரில்.

சில நாள் அரிதார புருஷனாய்!

சில நாள் அவதார புருஷனாய்!

ஒருவன் புரட்சித் தலைவன்

இன்னொருவன் காவியத் தலைவன்.

முன்னவருக்கு கிடைத்ததோ முதல்வர் அரியணை!

பின்னவன் கொடுப்பான் உன் ஆன்மாவுக்குத் தலையணை!

நீ தாய்க்கும் பாடினாய், சேய்க்கும் பாடினாய்.

காமத்தையும் பாடினாய், ராம நாமத்தையும் பாடினாய்.

உனக்கு தத்துவமும் அத்துப்படி

'குத்து'வமும் அத்துப்படி!

காலனொடு 'முக்காபுலா' போடும் காலத்திலும்

'சுவாசம் ரொம்ப மோசம்' என்று எதுகை மோனை!

விடுவானா காலன்! கேட்டதும் அள்ளிக் கொண்டு போய் விட்டான்

எங்கள் தெள்ளுதமிழ்த் தேனை!

அள்ள அள்ளக் குறையாத 

நீயோ அட்சயப் பானை.

உன் வெண்தாடி விழுதில் ஏறி விளையாடும்

நாங்கள் வெறும் வானர சேனை.

சேட்டை மட்டுமே நாங்கள் அறிவோம்.

ஏட்டைக் காட்டி பாட்டைக் கேட்டல்

கோட்டையில் அமர வைக்கும் - ராஜ

பாட்டை உன்னால் மட்டுமே சாத்தியம்!

திருவரங்கத்துக் கவியரங்கமே!

தெவிட்டாத தமிழ்ச்சுரங்கமே!

நீ விட்டுப்போன சிம்மாசனம்

இனி நிரந்தரமாய் காலி.

நீ தொட்டுப் போன உயரங்கள்

என்றென்றும் சொல்லும் - வாலி! வாலி! வாலி!

வணக்கத்துடன்,

ப்ரவீன்.

Lootera - Movie Review

Vikramaditya Motwane's second coming (after the coming of age debut in 'Udaan') 'Lootera' is out on the big screen and is garnering quite a bit of positive reviews and critical acclaim.

Starring Ranveer Singh and Sonakshi Sinha in the lead, the first half of the film is set in the 1950's West Bengal, in the backdrop of the implementation of the Zamindari Abolitions Act.

Pakhi (Sonakshi) is the adored and protected daughter of the Zamindar of Manekpur (Barun Chanda). Pakhi collides (literally) with a government appointed archaeologist on a mission, Varun (Ranveer), who ends up being a guest, subsequently at the Zamindari haveli. Slowly but surely, the two fall for each other, even as the effects of the new legislation takes a toll on the Zamindar's assets, who resorts to Varun's help to trade some of his prized possessions. On the verge of getting married, circumstances force Varun to leave Pakhi and Manekpur only to meet her under completely different circumstances in the second half, set in Dalhousie.

I will refrain from giving away any spoilers, as the travel from Manekpur to Dalhousie is itself worth the money you spend.

The backdrop of Manekpur is beautifully etched with lot of attention to detail on the period props and fashion. The script is brilliant, aided by some first rate performances, especially by Barun Chanda and Vikram Massey, playing Varun's friend.

Its only when the scene shifts to Dalhousie, the writing starts gradually deteriorating and unfortunately hits rock bottom towards the end. The Writer-director in search of the (inspired) poetic ending, loses control of the lead characters, their emotions and lets the screenplay meander to a tame end, which reflects in the performances as well. Pakhi's portrayal when she meets Varun again and her emotions and reactions seem unconvincing and confused, after one point in time. I could sense the same with the fellow audience as well, which could pretty much be the movie's undoing.

(The disappointment in my case could also be because I knew the twist in the tale much before it presented itself, thanks to Mr.William Sydney Porter, and was waiting for it to arrive! If you have no clue of what I am talking about, you may enjoy the second half better).

Ranveer and Sonakshi play their parts well and are effective as Varun and Pakhi. Adil Hussain as the cop is adequate and Divya Dutta's role hardly warrants a mention.

Mahendra.J.Shetty's cinematography is easy on the eyes and apt.

Amit Trivedi

Amit Trivedi, who calls the music of Lootera, his tribute to Pancham da, delivers a brilliant performance with the songs and the background score. You will remember 'Sawaar Loon', 'Monta Re' (my personal favorite based on the traditional baul music) and 'Zinda Hoon Yaar' long after you are finished with the movie.  Barring a few instances where it is a little dominant on the dialogs, the background score (particularly the portion leading to the intermission) is one of the better scores I have heard in recent times.

My Verdict: Watch it if you like soft romantic dramas with fine performances and for the brilliant first half. The 'Lootera' ends up a couple of notches below what could have swept you off your feet.

The Dreamy Wishlist..

"He knows the pain of others
Does good to others, especially to those ones who are in misery
Does not let pride enter his mind

He tolerates and praises the entire world
Does not say bad things about anyone
Keeps his/her words, actions and thoughts pure
one, whose mother is blessed

He sees everything equally, rejects greed and avarice
Considers some one else's wife/daughter as his mother
The tongue may get tired, but will never speak lies
Does not even touch someone else's property

He does not succumb to worldly attachments;
Has devoted himself to staunch detachment to worldly pleasures
Has been addicted to the elixir coming by the name of Ram
For whom all the religious sites are in the mind

Who has no greed and deceit
Who has renounced lust of all types and anger
By who's virtue, the entire family gets salvation

This poet, will like to see one such person."

Now, I am no poet and what you see above is not something that I have composed. The above is a translation I found on the web for one of the most famous Gujarathi bhajans, "Vaishnava Jan Toh" written by Narsinhji Mehta, a devout poet-saint who lived between 1409 & 1488.

Like how Narsinh Mehta dreamt of seeing a person (Vaishnava) with all the above qualities, in another part of the country there was this lady who lived as early as the 8th century and  dreamt of her unison with the lord himself. Going by the name Kodhai, she composed some exceptional verses that are recited with verve to this date.

'Naachiyaar Thirumozhi" is probably my most favorite Tamizh literary work, of the very little I have managed to read till now. Vivid in her imagination, she paints such grandeur of a dream that eventually the lord had to give in. It contains 143 verses and is part of the 'Mudhal Aayiram' (1st 1000) of the Naalaayira Divya Prabhandham.

The 6th & 7th chapters (paasuram) are possibly the most popular even with the uninitiated. The writing is so lucid that anyone with the basic knowledge of Tamizh will be able to gather and appreciate the beauty of the verses.

The 6th Paasuram "VaaraNam Aayiram" depicts each and every aspect of a vedic wedding in utmost detail. The 7th Paasuram "Karuppooram Naarumo" is addressed to the 'Paanchjanyam' - the conch that adorns the hands of the lord.

Sample this:

"நால் திசைத் தீர்த்தம் கொணர்ந்து, நனி நல்கி

பார்ப்பனச் சிட்டர்கள் பல்லாரெடுத்தேத்தி

பூப்புனை கண்ணி புனிதனொடு என் தன்னை

காப்பு நாண் கட்ட கனாக்கண்டேன் தோழீ! நான்." 

"Naal Thisai Theerttham KoNarndhu, Nani Nalgi

Paarppana SittargaL Pallaar edutthu aetthi

Poo punai KaNNi, punidhanodu en thannai

Kaappu naaN katta Kanaa Kandaen Thozhee! Naan."

(Priests well versed in Religious rites perform the purification by sprinkling water from Holy rivers from all directions. They chant loudly the Mantras for the Lord and Me to tie Kankanam (thread- Kaappu naaN) to take marriage vows)

2 beautiful dreams or wishes!

What happens when 2 such beautiful dreams are fused. The very thought of it is irresistible isn't it?

Maestro ILaiyaraaja did exactly the same to fulfil the dream of Kamal Haasan! And what a perfect fusion it was, that brings a Vaishnavite wedding in front of our eyes. One that is as resplendent as Kodhai's dreams, encapsuling an entire wedding in a matter of 3 and half minutes.

I take this opportunity to wish everyone a wonderful Ram Navami, with this wonderful track from Hey Ram. Beautifully picturized with some wonderful banter, this track is sung by Vibha Sharma and Asha Bhosle amidst soul stirring traditional rendition of verses from the 6th Paasuram of Naachiyaar Thirumozhi, that culminate in another verse from the prabhandham.

Happy Ram Navami!

Link to the dreamy wishlist.. https://www.youtube.com/watch?v=PaFGmVr1X-8

Vishwaroopam - Movie Review

These days, living in a non-Thamizh speaking state seems to be a boon, when it comes to watching Thamizh movies. Which also means, I got to watch the unedited, uncut and unmuted version of Kamal Haasan's magnum opus, Vishwaroopam!

The first question anyone asked me when I said I saw the movie is, what is wrong with the movie, that it drew so many protests? Nothing at all!! I am appalled that the Muslim fraternity is upset. There are enough reasons for many other communities to feel offended, actually! (பாப்பாத்தி/we dunk him in the sea..anyone??) :)

That apart, Vishwaroopam is technically brilliant and keeps you hooked for most parts. Whether it is the art direction (the Afghanistan portions are unbelievable) or cinematography or the visual effects, Kamal the technician shines in getting the best out of his multinational ensemble.

Kamal the director is also in fine form with extracting the best from the limited but adequate scope that most of his actors have. The problem I had is only with the writer facet. The plot has quite a few glaring loop holes (like the scene where Viz and co are chased by both the police and Omar in the streets of NY and the chase abruptly ends and out of nowhere they are in Nirupama's office stalking computers and lockers) that remain unanswered and I don't believe they will even get a mention in the sequel.

Kamal should also watch his god/theist bashing in his writing. You may be an atheist (rationalist as you would like to be called) Mr. Kamal, but you can keep it at home and not include it forcefully in your films and dialogues just for the sake of it.

There are some wonderful touches as well (like the prayer scene before the climax or the swing scene in afghan), but they are few and far between.

Rahul Bose was another big let down for me. Quite irritating! Jaideep Ahlawat was a lot better.

The Kathak portion somewhere seemed forced in the script and Kamal's act as the Kathak dancer to me was nothing more than the நடை & பாவனை of Avvai Shanmugi, with the உடை being different. Nothing special! Even his look in the Afghan portions failed to leave an impact.

Andreah Jeremiah has nothing much to do and looked like a 'choice of convenience' and was the sore thumb in the Kathak dance sequence. And why would you need a Shekhar Kapur for that role anyway?!

Barring these glitches, that one may tend to ignore, it is still a mighty good film and a must watch for the package per se.

The stunt sequences are just brilliant. Shankar-Ehsaan-Loy's songs and Inderjeet's background score lift the movie, though I thought the 'Unnai KaaNaadha' song could have been a little better to exploit Kamal the dancer. It was just good, I would have loved an awesome dance sequence. Something missing! The title track sounds better when its resurfaces towards the end and 'Thuppaakki engal Tholili' is apt.

Nevertheless, this film will go down in the history of Thamizh films as a landmark film, both for its technical excellence and more so for the controversies!