cosmicdin-1

I'm an ardent fan of Kamal Haasan, no doubt. There are a few actors in the film industry across the globe who can emulate the kind of roles he has donned in the past decades. But it doesn't mean that I should be a sycophant every time he makes audiences dumb fools to endure his over-the -top ambitious projects that have over the years have developed a reputation to end up as thrash bags. First of all this movie had received tremendous hype and hoopla before its release and all the news channels were flocked with specials and interviews of Kamal and the director. And to make it worse Kamal flaunted by saying this was the best screenplay of his career and that it contains mind-boggling special effects. I guess he presumes that the Indian audience haven't come out of the pre-historic days of graphic evolution in the 90's or even the 80's and has somehow developed the thought that they will forgive the glitches and will be awed by the spectacular they witness on screen. Mr. Kamal, Think Again! I entered the cinema hall with an absolute empty mind devoid of any expectations and anticipation as the reviews were already circling with negative vibes in a majority of media. But after the initial 30 minutes, I began to squirm in my seat and the movie disastrously failed to ignite any sense of involvement in its story or characters. I loathed the scenes involving the so called "Special Effects" that were so on the face that even a 5 year-old kind would point out to his parents saying that it looks Funny! Kamal and the creative team have taken the audience for granted, as its very much evident in the quality of effects. It is so very amateurish that it can be compared to those effects from the 80s or 70s, which used simple camera tricks. I mean, did they think Indian audience are a pack of rabbits that if you show them a bag of juicy-red carrots they would just drop their tongues out? Kamal has failed to understand his audiences and thinks they are bound to be awestruck with whatever he does without realising that people are exposed to a lot of cinema from across the world and know the difference between good and bad. The first scene of the movie is so badly executed with a retro effect that it made me feel sick. The camera by Ravi Varma, who is known for his top-notch skills makes your head dizzy with unwanted and irritating camera movements throughout the film. Not a single frame caught my imagination. Now, where was the 90 odd crore budget spent? It had the worst lighting, composition, even the film stock they have used is bad (covers a major portion of a film's budget), the prosthetics are so bad, that you feel nauseated watching the characters in motion. K. S. Ravikumar had once said in an interview that the special effects were done in different countries so that the competition would increase among them to produce the best. But after each country handed them over with the final product the editor stuck them together and you see an array of different shades of shabby, amateurish, puking effects on screen. Why would these guys want to boast about an ordinary film with third-rat special effects coupled with a laboured exercise of inserting characters in undesired slots in the screenplay for producing a disaster film? Mr. Kamal, please don't take us for granted anymore and try watching a few quality Tamil films that came out in recent times in understanding what 'Graphics' mean. The challenge is in blending the unreal with real so intricately that one should be able to break his head trying to point where the filmmakers have used it, not like this film where its so on your face and so badly rendered especially when the one or more avatars share the screen space, and the Tsunami sequences. Please don't blow trumpets again saying this film is a landmark in Indian cinema, its packed with mind-blowing special effects in standard with Hollywood, etc. In fact this film has not even met with Tamil cinema standards in recent times. And for those of you who might get furious with this summary, let me tell you one thing... let us not make a fool of ourselves anymore by gaping at sub-standard films.

Paul Gimatti plays as Harvey Pekar, the renowned comic book creator who generated a cult following for his slice-of life comic series "American Splendor." Written and directed by Shari Springer Berman and Robert Pulcini, this autobiographical film avoids the traditional structure of a common biopic movie. Instead, we are treated to a creation that is part narrative, part documentary, and part animation, luring us into the everyday struggles and triumph of Harvey Pekar. Harvey Pekar leads a mundane working class lifestyle as a file clerk in a Cleveland hospital, with a troubled marriage at the verge of a break-up. He befriends comic artist Robert Crumb (James Urbaniak) following their mutual interest and passion towards comic books and Jazz music. Observing Crumb's success and reception to his works, Harvey creates his own comic based on his day-to-day experience and interactions with his friends. He begins to observe his own life from the outside and other people around him. But his inability to draw even a straight line dissuades the idea. Impressed by his writing, Crumb offers his help by illustrating the text and "American Splendor" hits the stands. Harvey finds his readers through his autobiographical comic and graphic books dealing with the routine troubles and frustrations of the everyday world. Harvey's style attracts Joyce Brabner (Hope Davis), a comic freak who ends up marrying him. Though he attains moderate success, he continues his work at the hospital. But life doesn't shoot up to the skies for Harvey, as trouble walks in from different corners and in different forms, with cancer topping the list...

One of the rare movies in which fact and fiction coexists in the same frame, switching back and forth between the real characters and actors who play them. From Harvey's friend Toby Radloff, a self-diagnosed 'nerd', to his inspiring hospital workmates, all the characters add colour and soul. The film earned the directors Fipresci prize at the Cannes for their original and innovative approach in combining fiction and reality. Paul Gimatti delivers one of his lifetime performances. He lives and breathes through his character often baffling us as to who's the real and who's the actor. Life is competitive, unforgiving and often lonely, but when two people really find each other, it's a real splendor, and this film splendidly emotes that.

"Essentially all I've wanted this to be is a journal of a life, because I think that sort of thing is worth recording."

Harvey Pekar

Punnagai Manan is undoubtedly one of the finest love stories set against a musical backdrop to emerge in Indian cinema. Directed by the veteran of Tamil cinema K. Balachandar, he once again paints the celluloid with a touching story about the immortality of love. The film opens as Sethu (Kamal Haasan) and Ranjini (Rekha) count their moments before plunging to death as they're communion is opposed by her parents. Since Sethu belongs to a low class and his father being a cook, Ranjini's father strongly dismisses him from being his prospective son-in-law. In the fateful event, Ranjini dies but Sethu survives. He's sentenced to one-year imprisonment much to his own surprise, as he doesn't wish to live. His uncle, Chaplin Chellapa (Kamal Haasan) a man who dedicated his life to make people laugh, instils hope and sense into him. Upon his return from prison he heads home, but finds new additions to his father's growing collection of wife's. Not wanting to be a part of the herd, he takes up a job as a dance instructor in an arts centre offered by Padmini (Srividya), who runs the institute. He spots Malini (Revathi) on the verge of committing suicide at the very place he plunged with Ranjani, which he now considers as his 'monument of love'. He succeeds in persuading her to change her mind, giving a few insights on the values of life to which she humbly submits. Malini develops a liking towards Sethu, and enrols in his dance class, but his hostile rude attitude towards her makes things difficult. Her love increases even more when she learns about his past from Chaplin Chellapa, who also provides her with ample ideas to woo him. Despite his best attempts to stay away from Malini, Sethu is drawn to her and confesses his secret admiration towards her ever since they met. Life brings upon a sea of change as Sethu begins to reinvent himself through Malini's immense love. All's well until he meets Malini's parents, as they humiliate him for being a cook's son, whereas Malini hails from a wealthy Sri Lankan family. Sethu's past misfortunes continue to chase him as Malini's parents firmly reject their love. Will history repeat itself…

The musical sequence just before Sethu proposes Malini is regarded as one of the most cherished moments on screen of Tamil cinema. Kamal deserves applause for bringing back to life cinema's most loved character of all time as homage to Charlie Chaplin. An evergreen love story that has stood the test of time, and a classic that is not to be missed.