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What
united Kollywood in 2008? |
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Tinsel world is not generally seen
as a place of overwhelming togetherness.
If anything, it is sometimes perceived
as next only to politics in terms
of infighting, squabbles and disputes
within one’s own field of work,
which is maybe one of the reasons
so many people from films enter politics.
There have been many instances of
directors making complaints on non-cooperation
of actors, producers accusing artistes
of not sticking to commitments, stars
hitting back stating that their dates
were never properly utilized, pay
issues and numerous other disagreements
which have at many times jeopardized
the fate of films, many of which still
lie in cans hoping for salvation on
the silver screen. But 2008 witnessed
two very emphatic shows of unity across
the film industry. It is ironic to
observe that while the disputes relating
to film matters have remained, the
film fraternity united for some matters
totally independent of movies. This
shows that when it is for a cause,
professional differences are easily
set aside.
The first instance was the protest
against Karnataka’s stand on
the Hogenakkal issue. Now, let’s
not get into the finer details of
who was right in their claims, those
are things best left to political
arbitrators. Well, Tamil cinema artistes
turned up in full force to show that
they thought that Tamil Nadu was right
in its demands. While many spoke many
things on that day, it was only a
certain ‘kick’ that was
remembered, for all the wrong reasons.
Obviously, the ‘kick’
did not have its timing spot on and
even though completely unintentional,
it seemed to have hurt some very |
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sensitive spots in Karnataka. The
unity that Tamil cinema showed lasted
for just that one day, because the
man who delivered the ‘kick’
in the heat of the moment was left
to face the consequences by himself,
even receiving occasional criticism
from his own side about the manner
in which he was facing the consequences
which culminated in an expression
of regret that was seen by many as
an insult to Tamil Nadu. But, cynicism
apart, the incident showed that given
the right reasons, it was not tough
to find backing from Tamil cinema.
It was reminiscent of some of the
joint protests that we have seen in
the past, especially the one that
took place a few years ago in Neyveli.
The Hogenakkal issue passed. But the
more equivocal show of unity and support
came for a far more pressing reason.
The Sri Lankan Tamils issue has been
rankling for more than two decades
now and all that resentment seemed
to burst out at once in a show of
protest against the inhuman acts that
are happening in the island country.
Neither memory, nor a search of chronicles
reveals any greater show of unity
in the Tamil film industry. The sounds
echoed in almost every corner of Tamil
Nadu. As if symbolizing cinema in
its hierarchy, the protests were led
by the directors with some fiery speeches
and ideas at Rameshwaram. Some of
the speeches were even misunderstood
as sedition, but that should be a
case of words being read out of context.
The actors followed the directors,
every one came in black, the solidarity
shown was greater than before, everyone
spoke their heart out not caring much
about consequences even after a couple
of directors had to court arrest for
what they said. This sparked off many
other similar protests, the technicians,
fans’ associations and other
groups in their own small way. This
managed to filter across cinema into
the other realms where funds were
collected for the welfare of Lankan
Tamils; cinema was having an effect
on society, for once it was good and
it did not come from the screen.
Cinema is undoubtedly an industry
where disputes and arguments rise
like no other and are also publicized
like no other. This might be partly
attributed to the risky nature of
film business where fortunes fluctuate
every weekend and huge amounts can
be made or lost in a matter of days.
But, cinema too can stand united when
there is one common cause and to see
Tamil cinema identify such causes
as worth standing up for was definitely
heartening.
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