Raja's read only memories

Article can also be read at: http://newindianexpress.com/entertainment/tamil/article344575.ece An analysis into the success – and failure – of the national award winning Tamil movie Aranya Kandam     The slick, pulp fiction-like poster of Aaranya Kaandam, perhaps the first Tamil neo-noir movie by Rajagopalan Venkataraman Think noir in Indian cinema and it is but natural to think of movies based on gangsters and internecine wars for supremacy. Notable examples in this genre include the Amitabh Bacchan-starrer Zanjeer , Mani Ratnam’s Nayakan and Ram Gopal Varma’s repertoire of mafia sagas, ranging from Satya to Company and D. Save for a few, a majority of such movies, in their bid to dish out “masala” entertainers – a euphemism for a film that has something for all sections of audiences – have traditionally offered the backseat to factors like story and screenplay. Ergo, when Aaranya Kandam (the jungle chapter) – perhaps the first Tamil neo-noir movie...

"Whatever is needed is Dharma," or so goes a quote attributed to the philosopher Chanakya prior to the start of Thiagarajan Kumararaja's debut movie, Aaranya Kaandam (the forest chapter) . The movie, which is part of Kollywood's new-found passion for off-beat themes, has certainly satisfied its cinematic 'dharma' by looking beyond the traditional masala fare, and still produce a gripping entertainer. A gangster flick, Aaranya... steers clear of the good v/s bad kind of characterisation, with virtually every character painted in hues of grey — a departure from the Robin Hood/vigilante-themed movies . Singaperumal (Jackie Shroff), a dreaded gangster, beats up his concubine Subbu (Yasmin Ponnappa) while unable to get it up during intercourse, but makes up for it by handing money to Sappai (Ravi Krishna), his effeminate assistant, asking him to purchase something for her. A kid, Kodukapuli (Master Vasanth), helps his drunkard dad perform his daily ablutions, but ...