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Tuesday, July 19, 2011


When Vijay of Madrasapattinam fame set out to make Deiva Thirumagal, I, for one, wasn’t too excited. Vijay could go on to become a film-maker of repute in the future,  but ever since he released the first feelers of this film he’s been busy telling people that “I am not Sam, I’m director Vijay; I have an identity of my own.”

I still remember watching the trailer for the first time during the interval of KO in a theatre. I could hear comments like “Dai over ah nadikaatha da”, “Kudutha kaasuku konjam jaasthiyaave nadikaraaney” from behind. They were basically echoing my feelings on the issue. Vikram is a class act, no doubt, but then every time I see his antics unfurl as the supposed-to-be-gallant-but -devastatingly-funny-Kandasamy, I wonder what happened to the Vikram who amazed us with a relaxed depiction in Dhool. Every time I watch scenes from Bheema, every time Lingusamy frightens me with those close-up shots of the macho man’s overgrown Biceps, I sigh and yearn a tad more to watch the slim and fit Vikram who gave me goose bumps with an effortless performance as an aspiring cop. Every time he goes Mambo-ma-mia with the garish voice of his on isayaruvi or sun-music, I can’t help feeling sorry for another fantastic actor who wants to be a Kamal-like-all-rounder. Kamal is a once in a generation magician gifted with just about everything, why does every frigging actor want to be a Kamal Haasan.

Every Vikram fan out there would definitely agree upon the fact that Pithamagan is the actor’s best performance till date. But I wonder if it’s the best thing that could have happened to the actor: ever since, Vikram seems to be pushing and punishing himself by working too hard for every movie; the casual, laid-back and the totally unfussy portrayals don’t seem to find a place in Vikram’s priority list anymore. Yes he came up with Majaa but we still didn’t witness the Vikram we know, did we? My facebook news-feed is full of posts and comments heaping praises on Chiyaan. But as an uncompromising fan, I have to admit that I’m far from satisfied. You have to watch Pithamagan again to discover the underplay and delightful subtleties that Vikram is capable of. And you have to watch “I am Sam” before you watch DTM to understand the degree of over-acting that has come from totally unexpected quarters.

Vikram owes his success as an actor to the directors he has worked with. Almost obstinate dedication to the roles he has played thus far has helped Vikram reap rewards. He has worked under the likes of Bala and Mani Ratnam, who certainly know how to make use of the best efforts put forth by an actor. He has faced commercial success under the aegis of Dharani and Hari, who certainly don’t belong to the league of Mani or Bala but are masters at mass attraction (that, if you forget their recently-released forgetful ventures). But I feel it’s a gross waste of talent and effort when he works under people like Vijay and Susi Ganesan. It’s as if Vikram wants us to notice his “acting talent” one movie after another. Is there no end to his portrayal of larger-than-life characters?

Coming to Deiva thirumagal, it’s actually Vijay’s (the director) autobiography with a tweak at the end. Vikram has reprised the role of Vijay, a mentally challenged with an IQ of a six year old and Sara, the small child in the movie who has been used a metaphor to symbolize the audience. The child is six years old because Vijay assumes the audience to have an IQ level on par with the child. Nasser plays “Gowravam” Sivaji’s grandson, the way he positions his mouth consciously to indicate his parental lineage is stroke of directorial brilliance I say! 

Vijay has employed various techniques to convey the message that he’s not Sam and that he is indeed director Vijay in disguise as Krishna, with an alarmingly low IQ level. First he ruins the most beautiful scene in “I am Sam” (the purchase of shoes for the kid); the characters sell their souls and manipulate their ideals if and when they feel like (Nasser and Amala Paul’s dad, cases in point. Not to forget Vikram’s change of heart in the climax!). Then there is the totally absurd, disturbingly cheap and crass comedy track featuring MS Bhaskar, his wife and Pandi. The court scene in the climax is an insult to “I am Sam”. What were Vikram and the kid behind those wooden bars in the court doing? And what was I supposed to do as they freely exhibited those circus-type antics? Without much choice and most predictably, I burst out laughing! I am often accused of being an unemotional, unfeeling *astard but this one was too hilarious to resist: only that the humor was unintended!

I wonder what would have happened if not for Santhanam and the two lovely ladies in the movie! The girl in the movie is super-cute and surely does know a thing or two about acting. Amala Paul’s got such an addictive pair of eyes and Anushka can act a bit I guess.( No I’m not talking about Shreya or Genelia) She doesn’t have much to do, but atleast she’s not annoying like the other leading ladies of today. And can someone explain the logic behind that song in the climax (duet?!?!?!) which arbitrarily pops up like an ICICI ad when one’s browsing a popular website? I felt like screaming Aala vidungada yabba!
Karthik Kumar, Tamil cinema’s aasthana American Mapillai has been given a makeover in this movie: he’s not an American Mapillai, but he’s just a Mapillai (cut American) in this flick! But yeah, a dismal fate awaits him as usual. Again, what a waste of talent!

Chiyaan, please! We’ve had enough of such rubbish. Take us back to the days of Dhil and Dhool or stun us with movies like Pithamagan and Sethu. We have enough actors to give such half-baked nonsense. (No, I’m not talking about Vijay (The actor. Hmmm, maybe I should rephrase.) ) And as for Vijay the director, please leave Hollywood classics and classy actors like Vikram alone. You will find actors of similar IQ levels (No I’m not talking about Vijay, the person who jumped like a Dolphin in Sura) in Kollywood.


  1. I like the movie till the father(krishna) fights for his beloved little daughter (Nilla) with innocent love, I don't understand from where the practicality thought emerges in his mind to leave the little princes, to some one's hand, where she will not be happy but thinking about her father. Even though the differently abled father was convinced by an ordinary human being and worried about the daughter's future, he should have felt the love & loneliness of the kid. So the moral of my story is Love & Practicality is paradox, oxymoron etc.....

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    1. hahaha.. great comedy (your comment, not the post)...