| AMMAN,
VITTALACHARYA AND UNEMPLOYMENT: TAMIL CINEMA’S
RELICS! |
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| By
Arun Gopinath |
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As
a rocket flies higher into the sky, it
sheds weight in order to ease its ascent.
Yes, in order to go higher, some things
have to be let off or left behind. Tamil
cinema has looked to go higher and grow
bigger in the last two decades or so.
And, as a result there are certain facets
that have been left behind; some consciously
and some because of the changes in our
social structures, lifestyle and economy.
So, what is it that Tamil cinema had forsaken
as it goes higher in the realms of world
cinema?
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One thing that is missed (though not with any feeling
of loss or regret) is the ‘Amman’ film.
One thing that is missed (though not with any feeling
of loss or regret) is the ‘Amman’ film.
There was a time in Tamil cinema when 2-3 Amman based
films used to be a staple. Almost every leading actress
of the 80s and 90s has donned a menacing Amman get
up at least once in their careers; Roja, Meena, Ramya
Krishnan etc.. have all done it, with as much fervor
as any other role in their careers, some even multiple
times. And, that was also a time when there were directors
who specialized in such films, glorifying the omnipresence
and omnipotence of the almighty, films that looked
to touch the spiritual/religious chord in the viewers’
minds. But, as Tamil cinema has progressed, it has
gradually shed the weight of such films behind it.
This is not to say that these films were below par
products of incompetent individuals; such films were
in fact ones that were guaranteed revenue generators
at one time; drawing ladies into theaters. But, think
of such a film releasing these days! People would
actually mistake it for a spoof rather than be awed
by the spiritual presence in the movie. Would a leading
actress of our times, like a Trisha or Tamannah accept
the role of a ‘Vembulli Amman’? No, and
that is not because they are atheists; it is because
Tamil cinema has outgrown the genre and gone on to
bigger things.
Similarly, we no longer get the Vittalacharya brand
of horror; ghosts clad in all white, skeletons painted
on their faces and smoke surrounding them, making
hideous noises! Horror these days is far more sophisticated;
based more on camera angles and darkness rather than
a brazen articulation of the most cringeworthy on
screen forms. Even the slightest slip up is being
panned around as amateurism these days. And, to think
that the Vittalacharya brand was a huge draw in its
days, which is somewhere in the 70s and 80s, tells
us that Tamil cinema has been growing at an exponential
rate, taking along with the audiences’ tastes
to a higher level. There was a brief attempt in the
recent past to get back to the cheesier brand of horror;
remember Namitha as Jaganmohini. As proof of the fact
that what was in sync in the 70s no longer works;
the movie sank without a trace. It was like Volkswagen
trying to bring back the 60s Beetle back into fashion.
Some things belong best in vintage shows and sweet
memories; not in present day action.
Finally, there is one central plot that once served
many Indian film makers with great distinction but
has now been swept under the carpet. That is not because
Indian cinema has outgrown this theme, but because
India’s overall growth and development has made
this plot a bit irrelevant and perhaps redundant.
What is the plot?
It is the story of three-four unemployed youth in
the big bad world. There was a time in the 70s and
80s where every second film releasing used to have
this as its epicenter. All twists, turns, ups and
downs in the plot emanated from one cold fact- unemployment.
It is not just Tamil cinema, all film industries in
India have gone through this phase. All leading actors
of those times (some of them still are) have done
at least a handful of films that start off by showing
them as ‘qualified but struggling to find a
job frustrated youth ‘ before moving on to other
things. Perhaps Kamal’s Varumayin Niram Sigappu
was the zenith of all movies based on unemployment.
And, indeed, these movies were made because they reflected
the most common social problem of those times, which
unfortunately was unemployment. Nowadays unemployment
is not that big an issue, at least in cities. In the
70s and 80s a young man struggling to find a job would
have found both sympathy and empathy. Nowadays, he
would find himself with a loser tag because India
(at least the urban part) is a land of opportunity.
And, naturally, the central plot of unemployment has
been sidestepped. Contemporary cinema explores problems
that are contemporary to society; which is why we
have Ramgopal Verma (what an opportunist) already
talking about a film revolving around Maria Susairaj
and the murder story, which is why we have movies
on terrorism and even match fixing (Mankatha).
Tamil cinema has outgrown some of the things that
were once its staple. It is a good thing because dynamism
is one of the best indications of a healthy industry.
And, if you want to watch an Amman movie, you can
wait for KTV to show one.
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