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Thus, realism in their films automatically takes into account film form and reflexive discourse about such film form. To the extent that some of the characters like in ‘Naan Kaduvul’ are Joe Sacco-like creations coming to anthropomorphic life. They scout hard for faces that would fit their character and not mould their characters around the actors which was the standard norm in Tamil cinema till recently,” says Baskaran. They spend a lot of time with the actors, most of whom don’t have prior acting experience, to get the character correctly. “All of these directors pay great attention to casting, in detail. Their cast included ordinary middle-class guys, not the larger-than-life super-heroes one encounters in Tamil commercial cinema.Ĭasting has become one of the most important task of filmmaking. Most of these films don’t have ‘recognised names’. The first step in this process was the selection of actors. Thus, these processes account for the calibration of film form and modes of spectatorship. And these changing sensibilities is what has brought about change in the film market. His film, told the sad tale of a motley crowd of youngsters whose lives go haywire under wrong affiliations in society.Ĭollectively, these films proved that the patterns of reception is connected to a particular social group (youth) and today’s youth are more in sync with the ground realities than their predecessors. But the film’s success has luckily paved the way for new filmmakers trying a hand at experimentation,” says director and actor Sasikumar. It was tough convincing financiers that the unusual storyline will work at the box-office. When I made Subramaniapuram, I put in my own money.
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They have a compelling and an intimate portrait of the kind of working-class lives rarely seen in Tamil movies. Films like Kadhal, Veyyil, Pithamagan, ‘ Chennai 600028, Paruthiveeran, Naan Kaduvul and Nadodikal are recent Tamil films that are shorn of any kind of heroism. The frenetic craze for heroism translated into votes for these superstars or went in favour of those politicians they were affiliated to. Larger-than-life heroes were turning into demi-gods in the psyche of the average Tamil cineaste. Movies based on true social incidents were rare in Tamil cinema a few years ago as it was the prisoner of its own fabric. They are wafer-thin crisp and brisk as a pin prick. The Latin American influence is overtly visible in their style, which is replete with stark and sharp shots, fast cutting and slick editing. “Tired of plastic make-believe films, they are picking up subjects like poverty, slums and the crime that is inherent to the backwardness, for their creative ventures,” adds Baskaran. Films like Amores Peres and Children of God have driven them towards making films about the milieu around them.
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“Most of these filmmakers are influenced by the new crop of Latin American films,” says film historian S Theodore Baskaran. The products from this stable have a common cultural gamut. This change is slowly being ushered in by young directors who are more concerned about assimilated cultural ideas, concepts and characteristics of the common man. Each one of them has the Everyman as its protagonist. They are part of the realism that has emerged in Tamil cinema as products of almost palm-size street gadgets, shot on the shoulder amid real crowds in sections of the city and villages no one will ever bother to film. The audience appeal has shifted allegiances and has turned to movies based on true social incidents, spawning stars who are unlikely to get a second look if they were to walk on the street alone. Kollywood has turned to the artistic appeal of small-town bamboo and thatched-roof structures of Tamil Nadu’s interiors within which lie several truths of private vice and public vendetta. Because both the films are clear departures from the recent trend that has engulfed Tamil cinema and may not go down well with the recently cultivated Tamil tastes. Yet, the summer battle between the two is likely to be lukewarm. Both are indirectly indebted to hero worship. Dhanush is Rajnikanth’s son-in-law, Simbu is the son of T Rajendar, a popular star of yesteryear. While Mapillai stars Dhanush, Vedham’ stars Shimbu. Both films were released in an election time. The other release in election season is Vaanam, the remake of Telegu film Vedham. The reason for the cancelled show, was an audience that was more interested in the original version of Mapillai, the 1989 Rajnikanth- starrer.