Subramaniyapuram – something to share
“Subramaniyapuram” was an interesting experience in my life. Before getting into the technical sharing about the film, i would like to say about few things which made the film more emotionally attached to me. I was a struggler in Mumbai after doing my debut film in my career and its a hindi film ‘Jackpot’ (not yet released), yes; After a deep depression of about 2 years, i just pulled myself to my home ground Chennai to search for a good opportunity. I prepared a show reel of my first film’s trailers and teasers with songs, and few of my short films with which i groomed myself at my earlier stage and started my hunt. I met most of the directors happening in the industry. At that time i offen meet Sasikumar, who was planning to do his debut film “Subramaniyapuram”, and its cinematographer was already fixed. I knew Sasikumar since we were working as assistants in “Mounam Pesiyadhey” directed by Ameer, cinematography by Ramji. Since Sasi had already committed his cinematographer, i didn’t want to expect anything from him, but he even knows that im in search of good opportunity. We use to spend good time and thats it. Months were melting and nothing happened for me. One day, Sasikumar called me and asked “shall we make a film together?”, and my mind voice scolded me “Shit, haven’t u realised, that u should atleast gave him your show reel?”, but i replied him “Yeah we can, but before that i would like to show u my earlier works”. He said “not necessary, shall we make a film together” and now i said confidently “Sure sasi”.
One day, Sasi narrated me the story and screenplay, which directly hooked me into it with its strongest treatment in demand. I was really happy to get such a good film after a long struggle. The first thing stroked me is the raw look that was necessary for shooting this film. We started discussing various methods and ended up in doing the film in Super 16mm format. When sasi agreed my proposal to shoot in Super 16, i realized how intense he is into this project, because, there was no film done in Super 16 in tamil for full length, and i too gave him two hindi film for its quality reference. For a first time director, no one will have guts to agree for a Quality Loss method to shoot his film, and Sasi agreed it. I strongly believed that 16mm to 35mm transfer’s Quality loss will give the film an impact for the raw look and also will support for the 1980’s backdrop, which he also understood, so things were very clear between sasi and me from the very beginning.
We choose Super 16 for not only the period look, also we felt the lens ranges it provides will be helpful to show a 200 feet depth street to look more lengthier in perspectives. We searched those locations for almost 6 months, because it was hard to find a big area to have the same aesthetic look of the 80’s. At last we ended up in Dindigul, that too partly. Structure wise it was looking aesthetic but not colour wise and also we couldn’t able to get an apt exterior for the Tulasi’s house, where the major half revolves around. So we planned to repaint those street and to erect a set for tulasi house.
The other important location we were searching was the river bed where Kasi betray Paraman and walks till the road, it took a long search and time to get the required one, coz we were very much keen about the last single shot of the biggest flash back. It took 2 days to get that shot right was another story.
The interesting part of subramaniyapuram was with its casting also. Except Jai, Swathy and Karuppu, all the characters were new face and even new to camera and cinema, they were from madhurai and dindigul, everyone found their tougher days in the beginning and some people manage to get it right at half the way through and some were remained themselves till the end. But Sasi was very much confident in his casting, though it took lot of pain and patience to handle them to shoot what he want, the end result was something refreshing.
Being as a producer, Sasi never thought about finishing the film as soon and short as possible, he spent everywhere it was necessary, never had a compromise for the film, and that was a good decision that he produced himself. It would be a tougher scenario if someone would have produced it. Coz, even a small passer by extras used in the film has been given a costume from the production to maintain the period. Many use to ask “ how you manage to do this film in low budget?”, and we use to answer “ this looks low budget because u don’t realize many things in this film is been recreated, say the house, the jail, the repainted streets, the vehicles, costumes etc…” When a film really takes ur attention in to the characters and their emotions u actually never notice many things in and around the frame, but it is not that those are unnecessary, they are necessary to get the mood right. Subramaniyapuram for me, was an experience in that way. Many things in the film we worked to maintain the Period got unnoticed, coz people got hooked with the characters and the play, which is actually healthy watching.
Sasi and me always had shot division plans a day before of that shoot, so, there were no confusions between us. The toughest portion we shot was the Thiruvizha song, that too night effect with maximum available light. We got good crowd to fill the frame, but the crowd was available only for few hours at the night, from 7pm till 11pm, so every day we use to rush to do lot of work at that time interval. We should give our costumes to them, get them changed, arrange them accordingly, light up the street with tube lights and serial bulbs, in the afternoon itself and shoot in the night. After 11pm we use to shoot the patch shots of those master shots. Handling crowd around 1500 people a day was a challenge. I planned to shoot the song almost only with fluorescent lamps, and not anything else, just because, it was the time in 80’s that these tube lights were used a lot by the public in Madurai.
Even in night interiors, I followed the same, because I remember my old days, when these tube lights got introduced in my house. Only the living room will be lit with it and other rooms in tungsten warm bulbs. So I wanted the same look in the film also. And in arrack shops and hotels at those times, they used green colored tube lights which we followed in the arrack shop scene.
We were keen about not to commit any sodium vapor lamps in the streets. In 80’s small streets and areas were lit up only with the tube lights, and only high society locals and its junctions were lit up with sodium vapor lights, which i used in the politician’s murder spot, when the trio runs after stabbing the leader. No matter if these details been noticed or not, but we were firm in keeping up the details on screen.
The interesting feedback we ever had from a person from Madurai who recollected his younger days with our film, fallen into a trip to get loophole in the film’s periodic detail. He tried to get at least one miss, he watched the film for more than 10 times and at last he failed to find anything. We felt it was the success of our hard work.
Director Ameer said in our 100th day function – “ Sasikumar have guts to do this film, When Bala did his first film he had Ilayaraja who can lift the film, when I direct my first film, Surya and Yuvan Shankar raja were in peak, but Sasikumar have guts to bring such a strong film with a completely new cast and crew, Bravo”
I agree his words and would like to add more, that Sasi believed each and everyone worked in the film and everyone delivered their best for him, It’s a team effort with a very good captain on board.
Anurag Kashyap
Abhay Deol
Dibakar Banerjee
Hansal Mehta
Khalid Mohamed
Kundan Shah
Anish Kuruvilla
Jaideep Verma
Manish Gupta
Navdeep Singh
Bhavani Iyer
D. Santosh
Onir
Ashvin Kumar
Ramu Ramanathan
Sudhir Mishra
Pankaj Advani
Revathy
Saurabh Shukla
Shilpa Shukla
Sujoy Ghosh
Suparn Verma
Santosh Sivan
Shashank Ghosh
Shivajee
Pavan Kaul
Partho Sen-Gupta
Prroshant Naryannan
Sam Langoria
Satish Kasetty
Hats off Kathir to you and the entire team of Subramaniyapuram. I think the last long scene when Kasi betrays, turns around and walks to the car while we can see what is happenin to Paraman in the background has to be one of the best scenes I’ve seen in Indian cinema in a long time.
My mom spent a large share of her childhood in Madurai and was amazed at the level of detailing too. Hats off!
Please write a post on the forthcoming movies by Sasi and/or yourself.
Hi Kathir,
Congrats for having been a part of a wonderful film and thanks for sharing your experience. This movie was by far the best tamil film of last year. Are you working with Sasi’s next film Pasanga ? If so, is it a prequel to Subramaniapuram?
Hello sir,
Congrats on being part of such a wonderful movie. I have been a keen follower of tamil movies and you have jus lifted the medium to a whole new level joining the bandwagon of masters of tamil cinema.
Thank You
Wow!!
Great post Kathir!!
I loved the tension and energy in the following scenes.
1. Early morning scene where Paramu and Azhagar go stalking their first victim.
2. The riverbed scene where they destroy their blood stained clothes
3. The funeral march scene where they do their second ‘hit’
4. The chase through narrow alleys ending in azhagar falling at the feet of a lady.
5. Revenge by Paramu in auto
It was cold blooded unhurried – yet scathing film making. There was a matter of factness in not only the content but the execution as well – must have been quite a contrast from your experience in Katradhu thamizh.
@Srinath,
Pasanga is a production venture of Sasikumar, directed by Pandiraj, a new comer from the campus of Cheran and Thanker Bachchan. I loved the script and was willing to do it, also recommened him to Sasikumar, he agreed to produce it, but unfortunately both Naadodigal & Pasanga commence at same time of shooting, so we brought in Premkumar,again a debutant for this film as cinematographer. He has done a remarkable job in it. Im believe Pasanga will rock this summer! By the way Pasanga is not prequel to Subramaniyapuram, the promotional ideas were to spoof the recent released films, and to start with,we made fun about our own Subramaniyapuram. Idea by Pandiraj…
Wonderful post Kathir…we are very lucky to have you here…
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I think very few filmmakers bother to go into details to a level that sasi and you have done for Subramaniapuram to maintain the authenticity…
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95% of people wouldn’t even notice the lengths that you have gone into but the rest 5% who notice it will become your loyal followers! Keep it up!
Hi Kathir
Great post. I especially enjoyed that long continuous shot in the beginning when kasi walks through the streets. That whole shot gave the viewer an idea of what the setting was like and the surroundings being raw. But on noticing the whole film carefully I see that you have a penchant for a green tone?? or am I wrong?. Another scene which I admired for its intensity was when Sasi cuts the head of samudrakani in the end. The intensity built up in Sasi’s eye expressions which was captured brilliantly.
hats off..and keep giving us excellent visuals in future projects. Btw..have u already started ur next project??
With due respect to the hard work, guts and passion behind making of ’subramaniapuram’,I would like to ask a few questions.
1. Why 1980?.. if its for the politics of the scenario, if its for how youngsters got exploited- I would like to say within my limited research and knowledge of the period- these kind of politics happened only in the early 90’s. The mayor election and the violence did not happen in that era. I may be wrong but you could clarify if you know.
If 1980 was used as a nostalgic backdrop to create a certain freshness to a content which is otherwise usual, then I would like to know if taking such liberty in the name of mainstream cinema is right? If all this critical acclaim is deserved? The atmospheric setting of the era was really good but if one goes deep I have to search for the roots, where is it? can i say..”same old content done in the shadow of sincere portrayal of realism, seducing us through the rootless nostalgia of the 80’s” – there will be a few flaws in every script, but if am right, isn’t this a basic flaw? do enlighten me on that..
2. After the first killing in the film, is it possible for those innocent youngsters to live a life like that?.. it isn’t realistic for a film that claims to be real.. after that first killing the film becomes too cinematic and just takes every liberty of a mainstream formula..
I think ’subramaniapuram’ worked for its first 40 minutes and the last 30 minutes. First for its beautiful depiction of the 1980 setting- the romantic play and weaving of the cultural motifs. Second, for the blood shed of the last portions and the shock value of the climax.
Many of the current Tamil films that are critically acclaimed and successful, look really different on the surface, but if one goes into see how true are they to life and to the filmmaker himself- they fall into the usual category. There is a huge difference between different presentation and personal approach. Most of our films fall into the first.
Do keep writing here Kathiir and all the best for your future projects….
Kathir, I am not sure if you are aware of the revolution you have created in the Tamil industry by shooting on super 16. There used to be a notion that if a film was shot on anything other than 35, it would get branded as an experimental, art film and no distributor would come near it. You guys dared, and succeeded! After looking at your example, Prasad Labs has its hands full with Super 16 projects! The new 416 cameras are almost always rented out. Thanks for opening up some very tightly closed minds in Chennai.
Kathiir- that was a wonderful post.Made me re-wind & view the movie in mind again.One of the best things about the movie is the detailing that Sasi undertook.Be it the costumes, the streets, the indoor sets, everything was extremely authentic.I felt it was one of the most sincere Tamil movies in recent times.Looking forward to more good films from you & Sasi.And yes please keep sharing more & more experiences with us here.
@Kathir,
general question – Does anyone in chennai actually have the Black and White cameras used to shoot the classics of yester years?
I thought terms for a “life sentence” is somewhere in the region of 12-15 years. In the movie Kaasi serves 25 years!!(1983-2008)
Jaiganesh, there really isnt anything as black and white cameras. You just end up using black and white film or color film thats all.
Be it with the older cameras or the newer ones, you can shoot both.
Hi kathir,
It was really interesting to read abt ur experience in SUBRAMANIYAM.The movie broke the shackles of Tamil Cinema.I was flabbergasted to see the long shot in which ganja karuppu walks to the road with the dagger to the road.That scene stayed with me for some days.Also the scene where paraman cuts samuthrakani head was also shot well.I would be really happy to know how this scene(Ganja’s walk) originated and how you guys came up with idea for KANGAL IRANDHAL.Also tell us what other projects u r involved with at present.
thank u so much for sharing the experience.
Passion to the core displayed by Sasi and Kathiir. Post would stand out as inspiration to many strugglers who think they can’t!….and Kathiir I should really appreciate you guys giving oppurtunity to amateurs, thats a trade mark of a good professional…
Thank you for the detailing story.
Thank u every body!
@Anand,
My next project is Naadodigal, directed by Samuthira kani, and Sasikumar doing the main lead, the film is completed, slated to release on june.
@HMP,
Yes the life sentence is around 14 years, and Kasi serves 27 years, because he served double sentence. If u can recollect the dialogue at the end where the cop explains the doctor that “he wants to know why Kasi is been stabbed immediately released after 27 yrs,for being convicted to kill Azhagar, Paraman and Kanagu.” This indirectly unfolds another story that Somu have created that it is kasi,who killed all the three, and with which he is been convicted for double sentence.
@ila,
When sasi narreted the story, while he explaining the opening shot of the flashback, he wanted the first shot of Kasi to be a single shot, where he walks with a tense mood, and the entire street will be with its own pace accordingly. When he finished narrating the complete play, i got an idea of the end shot of the flashback to be a single one, so that the total falsh back will be like a circle to complete, which convinced sasi, and we stick to it.
Kangal irandal song was all about boy looking girl, and nothing else happens in their love life, our idea was that there shouldnt be any growth in their love life in the song, it is one and only sharing looks, so we planned to detail it as many interesting sequences to hold it intact. Hope it worked a lot on screen. Almost Everyday of our shoot, we use to shoot atleast one shot of this song to begin with and then only we use to get into the day’s work. It was like an anthem for our shooting days…
@Maams
In southern part of Tamilnadu, even today there are crucial murders happens for a long time awaited revenge. It is true. Even just a week before release of our film, there was a paper news denoting that 5 persons were killed and their heads been taken off and thrown somewhere in Singampunari, near Kaaraikudi. It was a revenge taken for a couple of murders happened 20 years ago. “Subramaniyapuram” was one such story which offen occurs here. And also the political scenario in Tamilnadu basically started using the youngsters happened in 1980’s itself, we have went through a detail research to some personally affected people, and one of them was reflecting our charecter Kasi, the inspired charecter is still living, but we had a fictious end in the film. He is been double sentenced for 5 murders, none of it he did, but being a betrayal person, he is been used by the politicians and again they used him to redirect their offences on him.
The story is about one such charecter Kasi, who comes out after a double sentence, that is almost 27 years, is been killed, an awaited revenge. If u go back 27 years of his life to know what happened, u will endup in 1980’s, which was calculated appropriately. There is an interesting element to handle 80’s on screen, which made a attraction, but i think only attractions cant take a film to a big reach. And i dont think using a period to narrate a story wont be a flaw, if it is logically correct.
If u can recollect, what happens after their first murder… i think things wont go cinematic from my point of view…
After the first murder, the duo decides to surrender at the court even before the police tries to catch them… when Kasi tries to bail them out, the politician family upsconds and these two get trapped in jail, where thay meet Ravi, a new charecter. He helps them to get a bail, then this duo tries to break in the politicians house to take a revenge, in which they fails, meanwhile the brothers make a general complaint on their own security… Ravi gets out in bail and uses these youngsters for his own revenge on Munusu, and these guys again falls into the same trap and run for life, from where the climax lead happens.
A story about a long time awaited revenge for being used by everyone in this society, can be narrated this way, which happenes in day to day life… i think this play is close to reality… do you really see any mainstream formula in this structure?
Maams…what is ur say?
What is cinematic in this flow of play?
it shows..the conviction the confidence and everything.. it is not just my favourite first film, it is my favourite film of last two years.. it still haunts me.. i am going to copy the song from it one day with permission ofcourse..
@Kathiir
Thanks for the response.
1.In many of the interviews I have followed, sasi did seem to be giving different answers to this question. why 1980?.. After reading your reason i feel it isn’t strong enough for the setting. Kathiir, I am not that stupid!! I wont be asking this question to sudhir mishra why he set his film in 70’s for “Hazaaron Khwaishein Aisi”. I dont want to take this arguement any further. Lets leave it.
2.What you have narrated is the flow of the incidents after the first murder which might be logically right, what I say is, they are psychologically not real. The characters inner emotions did not really feel real. Atleast to me. For eg., See ‘Black friday’, Anurag has handled that amazingly well. They seem to be human beings, they dont become dolls who act accordingly to please or shock the audience.
But since Anurag himself has liked ’subramaniapuram’ so much, I do not know what to say.
As Truffaut has said, its better to be silent when everybody raves about a successful film.
I have nothing more to say. ALL THE BEST.
Hi maams kathiir anurag
it seems anurag is very much carried away by conviction , confidence and everything for a first film maker and producer and amazes about the film like Mr. mani ratan does every time on bala’s film. I am also very curious to know which song from this film he really wants to copy…off course with permission.
As maams says the characters inner emotions did not really feel real in the film after the first murder is very acceptable, because your are speaking about the incidents that follows after that murder, but the question is what does the character feels after the murder is not strongly said.
The time in the film is used as a retro parade and eventually it works, even this film will work out in box office if it set in contemporary times, with those killing and blood shedding, with great applause as it received now.
Kathiir do you strongly believe that this film did not' turn into cinematic after the first murder?
sir, could you please write a post on lenses…i mean how do you choose the correct kind/brand/type of lenses for a particular subject…and did you use any particular filter for tamil M.A….your posts are really educative…thanks
@Seenu,
No where after the first murder they try to emote because, they feel they are safe in the hands of Kanagu, till they realise the truth thru kaasi. When they get a bail and come out,they already know that they are betrayed by the family, and it is their way of emoting their anger by bashing into their house to take a chance on them. Such a careless charecters never regret or feel guilt for what they have done, they always use to pin point something which driven them to do so. In that aspect, these guys everytime tries to attempt kanagu. Sasi brought out the charecter’s inner emotions on their life in the last couple of scenes,for example when alagar cries at a woman’s feet, paraman emotes at the river bank etc… Personally, i havent seen many great films of the masters, for my knowledge till to date, im convinced with what we have worked to bring out for this film, this time… there are plus and minus in it, after all we are learning with every attempt, and we are never in a stand that we have done a great film… may be, we may learn a lot in future by doing more films… i hope.
@Anurag,
I think u r fond of Kangal Irandal… It may get a new perspective if u handle it! Sounding healthy… BTW, can i expect u to express ur comments on the areas which we should improve ourself from Subramaniyapuram?
@Chakri,
I didnt use any filters in Tamil MA, since its a DI output. Most of the portions we shot were of true colours, and in quite few portions i toned it in DI to match with others. I followed a straw tone for Maharashtra portion, a dirty brown tone for Chennai portion, a clean neutral tone for the childhood portion and Tiruvannamalai portion. Thats it.
My choice of lenses are instantanious rather than calculative when i hear a script. Since im not from a theoritical backdrop, i go on with my own way of approach to what i think, i dont know whether im doing is right or wrong, i just do it. Believe me.
@ maams,
be cool, its a healthy discussion going on, and please dont give up… i personally learn to see my own film in another perspective when u arise a question… i strongly believe that film making is a learning process and we are learning by doing it…
Seenu, Maams, Kathir,
There is a reference to the characters’ inner emotion not being correct psychologically. In comparison, “Black Friday” is quoted. A guy who is brain washed to perform murder of innocent people, and a guy who murders someone for the sake of revenge are as different as are chalk and cheese. The inner emotion of the first person, would be different. In the case of Subramaniaypuram, the guys are totally convinced that they are doing a duty for their politician lords. I don’t know about other places, but in TN there are such men who are blind to reality. So, it is certainly possible for the likes or Paraman and Azhagar to behave the way they behave. If you and me happened to do what they did, our inner emotions will certainly be different from Paraman and Azhagar.
Also, as a creator I am sure Sasikumar did not try to cheat us by telling a regular tale and tried to cover it up with authentic setting. Each of the emotional journeys should have been thought of. If it is not convincing to an individual, it is our perspective and bringing up. For instance, there are so many things that happen in our country that makes us feel “how can this happen?”. This does not mean things don’t happen and they are not true.
@Skanda Narayanan, Kathiir
You can even show me a guy falling from the roof top and not get hurt. I will believe it, provided it works within the film's own reality. In a Tarantino film I don't question such things. I take it as cinema. In a Tarkovsky or a Angelopoulus film I don't question such things. I take it as their own world, a world- true to their self, as a work of Art.
A certain reality that's closer to life is constructed in the context of the place called '«Subramaniapuram' it slowly and cleverly shifts its reality into a different form that is audience specific. It becomes a fake or gimmick after the first half of the film, this manipulation is very sincerely done that we don't notice it. Slowly they become heroes and at last they earn for our sympathy. The first part of the film is seduction through romance and setting, the second part of the film is seduction through violence and revenge. This kind of intelligence does not touch me.
Paraman and Azhagar are not directly brain washed; they are subconsciously made to trust their master. These youngsters are innocent and blind, yes- that's why I find it totally unreal with their emotions after their first murder. It becomes the usual run of the mill film but since it's executed with a certain conviction and energy. It gains importance in our scenario. We have been accustomed to these formulaic things for so long in our lives that we have taken it for granted. We don't question them. If the film is successful we even try to defend and hide these flaws.
This film can be set in the early 90's and it will still work. Take any really good film that is set in an era, try to analyze, you will find that you wont be able pull it out and place it in a different era, especially when it has strong political undertone.
Somebody said to me '¬Boss! Somehow We need to make success, please understand'®. Yes I understand.
Maams,
Well, this is interesting. I felt that the characters behaved in tune with the reality of the film. The way you have put it across makes me think. May be I will watch the movie again.
If we can build on this thought what kind of behavior would have justified the film’s reality? What should have been the sequence of events after the first murder? Also Maams, if you think Sasi changed it for the sake of “Somehow we need to make success”, why do you think staying with the reality of the film he would not have come up with a “successful” plot end?
Kathir: Thanks for clarifying..I saw the movie without subtitles.
All the best for Naadodigal
@Skanda Narayanan
Let me say something to you. I went to the first day first show of '«subramaniapuram'. The film had no stars, no big names. It was an underdog film. No body could speculate its victory. The film began. After the first half there was not much talk, still nobody was sure of its victory. Then came the beheading scene, where Paraman takes the revenge. The audience clapped, there was big uproar as if saying '«kill that bastard!'-it could be heard in all the theatres of Tamilnadu. The clap to victory. The sound of success and assurance. Then came the suspense, kaasi became the betrayer. Audience where shocked. The beheading scene is the high point of the film and it's the point that assured the commercial success of the film. I am not a stupid to say it's the only point, but undoubtedly that is the high point. No second thought about it.
Hope you get me. I don't have problem with the series of incidents that take place. I am only interested in the way it is shown and the intention behind it. Now coming the end of the plot, where we are revealed who is the betrayer. Take for instance, '«mounam pesiyathe' by Ameer, in that film he shows Laila only in the end. But Sasi in this film is smarter than his mentor, he shows us kaasi through out the film and reveals his real face in the end. This is the same school of thought were one is ridiculous and the other is smart. Again this shock value adds to the success. I don't regard this kindof suspense highly but I should say the lengthy shot of kaasi walking after the betrayal was powerful and well executed. That was one of those rare shots that we see in Indian screen.
'«Pollaathavan' is also a successful debut film in Tamil. It's a smart, intelligent,clear and sharp film. It entertains, engages and succeeds with all its clich'ˆs and compromises. It stops at that level. It doesn't claim to have real life effect etc.., no pretentions. I did not have problem with that film. A proper mainstream film that did not try to haunt me, spread through my dreams or my day to day life.
A few months ago I saw a film called '«4 months 3 weeks and 2 days'. That film is still haunting me. I have tried to write about it, but I couldn't write anything, what can I say?..Every moment of the film is life. I like to be haunted by that film, every moment of my life. Truly great..
Hope you can understand the difference I mean. Thanks.
@to all
Let me take this oppurtunity to say that S.R.Kathiir is truely a gift to every mainstream filmmaker. By saying mainstream I am not trying to demean, each one grows in a certain way. Thats it.
His involvement in a project is amazing. He involves in every aspect of film making and suggests many things in the process of it. His energy levels will lift the spirit of even a dull moment in the sets. He is extremely hard working,confident and keen in learning things and adapting to any kind of situation. A filmmaker can trust him to the extent that he need not bother about the camera department, he can just involve himself with the actors and other aspects.
He isn’t carried away by the technological ocean of cinema. Thanks to him, as he is not into the theories of cinema, the intellectual jargon’s of the world cinema or the gimmicks of the masala films. He works through his instincts. I believe that is were the power of cinema resides.
Kathiir..Be as you are.
@Maams,
Yesturday, i was talking to sasi about ur opinion running on PFC, and he was excited to hear ur questions. About, The three different answers he mentioned to choose 80’s in different interviews which u mentioned was one among our discussion. He said that it was 1980’s when this practice of pulling youngsters into the trap for political hungries begin, which he witnessed personally in his younger age, and he wanted it to be a part of this film, and he narrated the actual version of the same Subramaniyapuram, which he first concieved. Believe me it was shocking and amazing, but later he told me that, many things in tamil scenario can’t be visualised here, and he wanted his film to get released first of all, and to make a decent box office to stay in this race, which made him to dilute the version to make it look like a cinema rather than a real docu-fiction. After that discussion i was keep on running it in my mind. Practically speaking, what sasi says is correct, i don’t know how much Anurag would have suffered by doing Black Friday to handle political pressure during and post release of the film, but Sasi didnt want to enter too much into such pressures, because u know the real face of politics happen in TN. The day before of our film released, there was a call from the head quarters that few ministers want to see our film, and we were shocked. Because we have shot the politician’s murder almost close to what happened really in madurai. We couldn’t able to stay on their face after during the intervel of that show, we managed to be normal, but if something would have happened that day negatively, then this film would not have been released and we would have still struggle for our next move. I could feel that in Sasi’s face after the intervel. But after the film’s screening, no one talked to us briefly, they just left with a fake smile, and not even phone calls. We were just proceeding to our film’s release, till to date there is a small threat running in our mind that why there was no reaction, and will it bumb our back in some other form… It is really tough to do something strong in this state. actually our film makers are been hand cuffed with lot of unnecessary hurdles all over, but i can sense that days are nearing to break this… let us hope.
And Maams, please, im doing nothing here, just trying to be a part of good films ( the films that looks good for my mind ), I read an interview of Mr. P.C.Sreeram, today. The last question was “Which do u say the best film of your own?” and he replied ” the best is yet to come”.
Wow! what a words from a master?, and Where we are?. My logic is simple, be with the director, and just look thru him to know what he wants, and work for it, thats it. Please dont use the word ‘gift’ or something which sounds big, im nowhere there…
@Kathir..your last words..be with the director, look through him and work for it…great words..a lesson for all budding technicians..
“..he wanted his film to get released first of all, and to make a decent box office to stay in this race, which made him to dilute the version..”
Thanks Kathiir and Sasi. I am releived. Success is the word.
@ Kathiir
Actually its not about ‘dilution’, its about the intentions that will lead you to the result. It will show. Nobody can hide, cinema is such a powerful mirror.
Please don’t mention Anurag’s struggle with his film. He is a honest filmmaker. True to his instincts.You cannot separate his movie and his life. That shows in his work. Hats off to him.
@anurag
After reading as many perspectives about the film..I really wanted to know your views on the film coz I feel that you are a sensible filmmaker and did make gr8 works fighting up with ridiculous people in the mainstream cinema. Do let us know what makes subprm your favorite film of last two years and why it haunts you so deeply?
@ Maams
I think we need not get into such detailed analysis abt the period of 80’s or 90’s. B’coz a film esp fiction is a construction where the events in relation with time can change according to the creators wish to create a certain kind of feel and the point he wants to make.And moreover its backdrop is not something similar to Black Friday where everybody knows abt the bomb blast and the image cannot be changed to 1970 or 80 which will make the film lose its credentials. Moreover this is just a backdrop and not the center of the film as such. I am sure that sasi wouldn’t have considered this as a political film as such.Its a story abt betrayal and revenge where politics has its small role to play. But this is the magic in creation.After you create, it no more belongs to you.Its left with the audience to decide.Fortunately its considered as a political film in this case and thsts the reason for its success in Kerala.Its beyond the creator to decide its fate after a creation is over.
@ Kathiir
Although i am convinced abt its period as a choice of the creator i still feel Subramaniyapuram very much in the formula of mainstream but cleaverly manipulated. As maams had mentioned earlier the high point of the film is sasi cutting of head in the auto. The second half of the film completely rely upon violence on its success rather than the inner emotions of human beings. I dont want to quote another film for this but if you read writers like Dostoevsky then you will understand what kind of turmoil one undergoes when one does a crime which is more relavant to the so called “reality”. This film is very much cinematic and pure exploitation of human emotions (hidden animal insticts) and very untrue in general. It looks convincing b’coz it is well grounded in logic within its narrative structure and off course there are lot of elements that contribute to its success. But as a film maker what sasi wants to project is outright violence inorder to encash and garner success and not any deeper emotional struggle that one undergoes when one encounter violence in life. It doesn’t mean that such films are bad but one should take a position to appreciate something that will in someway enhance the human experience and life on earth as such in some way or other which this film fails to do.
@Muthu
I agree that its a backdrop, and its intended to be just that. I was asking questions as it was hailed as a political film and Kathiir defending it in such a way that the backdrop has strong roots, which I still disagree. As you have said it was an accident that this film was seen as a political film, a film is left to each ones interpretation but this particular interpretation was irking me. The 80’s scenario was exploited rather than experienced, in the end it becomes more of a commercial gimmick. What I cant understand is – if you are showing me a period, you have to work to give the look of that period, what’s the big deal with it!, I mean, its your job! What we are interested is the human experience. I was just trying to say ‘DE-Construct this film and you will find there’s no real politics.. no real human experience’. Its a clever film, logically constructed to mesmerize. A very sincere escapist film, Nothing more to claim. Muthu, ‘Creation’ seems to be a big word. At least to me:)
Kathir
Loved the movie. Was talking to the Manager of DC books and he was telling that the response for the book of translation of Subramaniapuram script is huge.
Please inform the same to Sasi and thank him for this brilliant movie
“Cinema is an Unhappy Art as it depends on money.Not only because a film is expensive but it is then also marketed like Cigarettes etc.,
A FILM IS GOOD IF IT SELLS WELL, But if cinema is art then such an approach is absurd:then it would mean that art is good only when it sells well. Knowing this well I don’t complain; I cant demand special terms for my films since these terms don’t exist. The film for a larger audience cannot be poetical.. good films are not seen by the masses..” -
ANDREI TARKOVSKY.
As i settled down to watch subramanyapuram for the 1st time, the first shot inside the prison immediately drew my attention.
I felt the prisoner POV shot was an interesting choice and it made an attractive start.
As the movie unfolded, with the stabbing scene’s culmination and the introduction of Subramanyapuram, man, was I simply stunned.
The scene started off with the camera panning downwards from the sky slowly revealing a street in the town with its usual activities, people going about with their daily lives.
Then a man walks in and the camera starts following him… first from one side. Ah.. good stuff i felt.
Then it shifts to the other side, still following him walking. Just got better!
And there it was… no cuts for about a minute… a long take in namma cinema!
Whoaaa!!! A tracking shot for an establishing shot… What a fresh approach to introduce to the audience the story’s backdrop.
And then a few more small continuous shots followed… the camera appeared to glide silkily without any abrupt cuts and created a positive impression about the editing.
The main characters sitting inside the cell, their introduction – straight-forward, completely natural without any ‘build-up’ – was a pleasant welcome.
The following set of scenes – beginning from Kanagu kick starting his lambretta to the public bathroom scene – was pure exhilarating stuff.
The regular ‘family -introduction’ is turned into a set of witty, superbly knit scenes with the editing following a chain-like or relay-like pattern, take-off a scene taking cue from the culmination of its previous. The editor seemed to have deliberately (and intelligently) used this only for a short while thereby enhancing its impact and avoiding any monotony.
Just 10mins into the movie and I already felt completely blown away by the technicality of the film.
Kasi’s betrayal and then Parama getting killed (ending with Kasi sitting down on a stone and lighting a beedi… guys take a bow).
This scene according to me can feature among the best shot scenes in Indian cinema.
I place it at par with another of my favourite shot: the candle carrying scene in Tarkovsky’s “Nostalghia”.
Think it shares space with some of the best tracking shots in cinema…like some listed here:
http://www.dailyfilmdose.com/2007/05/long-take.html or
http://www.bspcn.com/2007/05/10/the-long-take-the-greatest-long-tracking-shots-in-cinema/
To me, the movie rises high inspite of it’s flaws (it fair share of ultra-violence and some amounts of melo-drama). The better portions in the movie are just too good leaving behind a great aftertaste to cherish.
To list a few of the stuffs that I admire in the movie:
the long takes (kathir… more of this from you please… this is just what the doc ordered!)
the relay edited sequence of scenes.
tight-framing and good close-ups.
the chasing sequence where azhagar and kasi are chased by the other group’s men.
the charming ’siru ponmani’ sequences.
the ending of the siru ponmani 1st sequence where Parama knocks of the glass of tea from dumka’s hand and the tea splashes across Kasi’s face who’s dozing. Kasi calmly wipes it off and resumes his sleep. I thought this was a superb representation of their state of joblessness, their lazy and we-care-a-damn attitude.
There are many such scenes that I felt were extremely well concieved and executed with the cinematography, screenplay and editing supporting one another so effectively.
I watched the movie in the cinemas, but dint have the luck of watching it multiple times in theatre as it was taken off quite quickly here in Bangalore. Yet to come across the original DVD/VCD. Had to shamelessly settle for a ripped version (kuttram dhaan… mannika vendum… bayangara aaruva kolaar saar, its become a kind of textbook for me).
I think I’ve lost count of how many times I’ve watched the movie, as a whole or in parts, but I still enjoy it immensly every single time.
Katradhu Tamizh, Anjadhey and Subramanyapuram, for me, stand out in tamizh cinema as landmarks.
Hats off to you guys!
(i would like to contact you. Can you pl mail me at varunetc@yahoo.com if you are ok with it. Thanks)
@varun
“kuttram dhaan… mannika vendum… bayangara aaruva kolaaru saar”- varun this is the essence of your write up.
Some of your points are fine…but..if you are just starting to learn cinema,First of all stop this insensitive bull shitting of comparing a tracking shot of ’subramaniapuram’ with a master work (nostalghia).
Its not only an injustice it also proves how worse is film appreciation in Tamil scenario. Its pathetic.!!
@varun
If you are a AARVA KOLAARU.. be one. Write a personal mail to kathiir and use all your soap operatic words there. PFC seems to have a sensitive objective.
To People who have been following my arguments in this link, I would like to say that this whole process has been a exercise of dissipating energy. I have only come across ‘energy sucking morons’ every day in Kollywood..corrupted asthetics, corrupted senses, corrupted cinema, corrupted viewers, corrupted appreciation.
Its better to move away and use your enrgies to make movies. Am stopping here. Thanks..
More than the fights which happened in this discussion, I really learn’t a lot about cinema here.
Those who are visiting this page for the first time and scrolled down after seeing big comments from Maams and S.R.Kathir, I’d suggest you to read those comments.
Esp. 34 and 36. You’ll get a different perspective of Subramaniapuram.
Thanks Maams and Kathir for the wonderful discussion :-)
@ Maams in 39,
You mentioned that Anurag is an honest filmmaker. True to his instincts. How do you say that? We know how his movies are. But not his life. But how do u say that you cannot separate movies and his life?
This is not an argument to fight. Because, even I believe in the concept of honest film-making. I can understand when you say he is true in his works. But how do you define it?
How do you say it shows in his works?
Please enlighten. And again I am telling you, I too believe in honest filmmaking. The reason why Vaaranam Aayiram, Naan Kadavul didnt work for me is because deep inside, I had a feeling that this movie does not look “honest”. When my friends ask me why I don’t like Vaaranam Aayiram, I gave the same answer “The movie is not honest”. But, I don’t know how to validate my statement. It would be great to know your thoughts.
enna maams! i wasnt trying to compare the shots. it was just the impact the two shots had on me. i havent seen a longer or better shot tracking shot in TF so far (if you are aware of any, i’d love to know). And it is not the length of the shot alone, the guilt and greed of the character it manages to potray, finishing off in what appeared to me as trust/friendship going-up-in-smoke representation, that moved ‘me’. If a write up/review of a movie that one has liked personally, be termed as soaping.. so be it.
Freedom of expression macha! Thanks!
Thanks Sivakumar..
Anurag is a filmmaker who wants to excite himself, surprise himself, push himself to the extremes and make his best out of the limitations he is facing in the industrial nature of cinema in India. He has nothing to hide in his films. He is learning and evolving with each of his films. Even in the crappiest moment in his film he isn’t afraid to be who he is. Until now he doesn’t seem to be an artist but definitely he is an honest filmmaker. When I said to Kathiir not to mention Anurag’s struggle with Black Friday, I mean it. Watch that film and you will know. Avar oru poraali, verum pizhaippuvaathi alla!.
There is a saying ‘show me your friend; I will say who you are’. You can replace friend with film. You need not know the life of a filmmaker to know who he is. All you have to do is carefully watch his films and you will know. Ofcourse, that comes with lot of practice and even I would say certain madness in getting immersed in the world of cinema. You need to be a really sincere student of cinema, the introspective aspect of your own self and the way you see life, all determines your understanding.
When you said you couldn’t find honesty in ‘Naan Kadavul’ and ‘Varanam Aaayiram’. How did you say that? But its difficult for many to say the same for ‘subramaniapuram’ as it is a logically well constructed narrative. Ofcourse it’s a huge hit but not NK or VA.
I am not against the masala films, people want to escape and be in an illusion for three hours. I don’t have a problem with that. I really get pissed off when a film that is slightly different in its presentation but with all the ingredients intact, claims a status that it really doesn’t deserve. These people can claim as our people are ignorant. How on earth can somebody like Cheran call himself as ‘south India’s sathyajit ray’(in a poster for ‘thavamaai thavamirunthu’) and still got away with it?.. If its kerala they would have made him to apologize mercilessly.
This is the ‘state we live in’!!
@varun
Copy and save whatever you have written to Kathiir and read it after two or three years. You will find what a nut you have been!!.. if you don’t find it that way, you can use all the abusive words in this world on me. I will take it. My mail id – mamse@lycos.com.
Ada pongapa….
Maams: The film did not work big time for me but I still thought that it was a good film. The entire team is new, the script writer / director had the nerve to go with new cast and crew and also produce the film, for a first timer the logistics of creating the environment was handled extremely well.
I mean don’t you think your anger is a bit misplaced? We as a community are used to praising mediocrity like Abhiyum Naanum, Saroja, Yaavarum Nalam, Bommalattam etc. and here we have an above average film and therefore it is no wonder that we are going berserk.
But shouldn’t you just judge the film on its own merit? Instead of saying, it is clever, but not the masterpiece it is claimed to be. To be fair to the filmmaker, he did not claim it to be a masterpiece, it was the film fraternity which did that. Why blame the poor guy?
And my personal opinion about your comments: I found them very intelligent from a guy who knows what he is talking about. But I do not agree with your comment on Varun. What you have said is applicable to everybody including you and me – that after a couple of years we ourselves may not agree to what we had written earlier – that is progression.
Maams: BTW, ‘this is the “state we live in”‘ was an absolute gem :-)
@Anand
First of all I would like to mention here that I was one those few people who went on to personally wish Kathiir and his team on the first day first show of the film. At that time it needed that kind of support, as it was one of those films that rarely come out in the mainstream. I was excited about the film, though I had all the same reservations I had argued here in this link. The film went on to become a super hit and rest is history. I am not saying that the filmmaker had considered it as master piece, my arguments arise from all the praise that this film has been getting over the past several months, it was praised to the skies by the media in Tamil and Malayalam. Even the so called highly cine literate people were going over board.
Now Sasikumar has sent the film to Cannes, not only him but various critically acclaimed mainstream Tamil filmmakers are sending their film to Cannes. If you know about Cannes, you will know what I am talking about. Why are they sending them? Its not because they know well about it- its because of all the praise and encouragement. Now in this context I felt it was very important for me to bring the film in to a strong critical light. Make them and others aware of the fact that –though on the surface the film looks different- deep down you will find the filmmaker succumbing to the demands of the routine cinema.
Yes, I agree that we are all progressing and I myself will think whatever I have written until now- in a different perspective in a few years. But I am sure of the fact that I will still be embracing the same arguments- may be in a different tone.
@Maams – It is because the film is made in thamizh circle where there is no outlet or respect for art film circles, the movie had to appear to cater to
“the demands of the routine cinema”. Even conceding your point fully that it is not ‘cannes’ worthy, it did have enough sensibility to excite film lovers aesthetically or otherwise. If we look back even the works of masters had elements to cater to “the demands of the routine cinema”, however they were thrust in, inserted carefully or purely accommodated to be more ‘accessible’. That does not completely pull the entire story down to ‘Thiruppaachi’ level of routine cinema. I hope you would agree.
@jaiganesh
If I don’t consider this film as important, If I havent got excited by this film, I wont be wasting my time here. When I say important it goes only within our own context, nothing more. I am only trying to question its importance beyond what it deserves to be( dont ask me what?..I have discussed everything in this link)
I am bored with people saying ‘among the films like ‘thiruppaachi’, this film is a welcome relief’. Yes, But I am not satisfied with that. Its high time that we see the best of our films in critical sense, then we know where we are standing.
Please, Dont even talk about the masters- this is the problem I am trying to address- who are those masters? not a single master I consider- have ever compromised their work for accessibility to the audience. If some of them have reached to the wider audience its because their world is naturally very accessible and not voluntarily. Masters talk about life, the films come out as an inner urge to share, to resonate with human beings, to touch their souls, to make them aware whats within us, the beauty and the mysteries of us, to be closer to the truth…..
Why should I watch subramaniapuram?..Because its a passionate work of entertainment,Because there is pleasure I get out of the seduction through romance and violence..there ends it. Nothing more..
We are talking about passionate business people.. who are still babies. Long way to go man!
Maams: In the temple of mediocrity, fight is on for the post of high preist. This is the ’state we live in’!!
@Maams,
For that year, its certainly among the best. very very cannes worthy
@Anand
If somebody is gonna fight for the post of high priest, then he is going straight to hell. According to me there is only one high priest in the world of cinema, he is Ingmar Bergman.
@DPac
oh..is it??? Thanks!! you opened my eyes!
@Anand
I am not part of this mediocrity, I am far away from it and with my senses open enough to see things as clear as a daylight.
By the way, its not a temple. its a circus.
“We’ve reached a time when we must declare open warfare on mediocrity, greyness and lack of expressiveness, and make creative inquiry a rule in cinema.” -Tarkovsky(1982).
With this I would like end these arguments. If all that I have written above has made one person think, then my purpose is solved. Thanks for bearing with the intrusion of me between the celebration and praise of the film.
Hi Kathir,
Thanks for your reply man.I also wanted to ask about one more shot from subramaniapuram which i am putting b4 u now.The immediate scene after somu gets the news that he has not been selected as the party candidate….It s a very long shot where the camera moves withe car and covers somu frm the front as he passes thru the corridor and into the room and follows him back outside…..Did u face any difficulty in taking that shot and What property(like roller skates or trolley) did u use for the shot……..
@ila,
it was done with a steady cam. We made a platform at the bottom of the car (welded with the car) which can be pulled under the base of the car like a drawer of a table. We made the steady cam operator to stand on it comfortably, and he will get down of the platform when somu gets down of the car, and as soon as he gets down, somebody from other side of the car will pull the platform to make it hide under the car, meanwhile somu will close the door and walk into the politician office and comesout.
that was interesting – how do you get people to do such mechanical modifications – is there a special unit in films for that?
hi kathir,
.And abt the promo song How did u guys shoot it.That video was a good effort as it shows we can shoot a hippy song with very less budget.
Thanks again for ur reply.What are ur plans after nadodigal and do u have any stories in mind so that we can see u direct a movie sometime later.And as usual one more clarification on subramaniapuram.The title song didnt appeal to me as much as the other numbers.James vasanthan had given u guys two outstanding songs and the tile one was a bit mediocre.That song wasnt necessary in the movie in my opinion.U guys could have opted for a good background score for that sequence.correct me if i m wrong
Hi kathir,
I was playing powersoccer today and I suddenly got this idea.How about a movie which is told or presented in a upside down fashion.The complete story of the movie should go backwards or in a reverse direction.But the audience should not know about it coz the script will make sense in the reverse fashion also(but not exact the original story).At the last we shall reveal to the audience that ths s the way the story goes. Have movies been made in ths fashion b4 and if so then could u tell me the name of it coz it will be a mind boggling experience.
Hi kathir,
In the trailer of subramaniapuram there will be a scene where tulasi(swathi) is chased by paraman(sasi) with the dagger.Was that part of the original script and were there any changes made after that.
@ila,
I enjoyed shooting our title song. we felt it is necessary to hold a breathing space with that song for rural audience. Hope it worked in those theaters. There is no second thought in it. Tulasi been chased by Paraman was shot just for trailer, to have racy cuts, a hook to have an attention, thats it, there was no change in the script from the day 1 of the shooting started. By the way i dont have any idea about directing, coz its a big thing which i may not able to handle it. :-)
Hi Kathiir Sir,
I was searching about you and got your blog here in PFC. Very nice to read your experience. Today, I watched Naadodigal and It was great experience. Your camera and BGM made me to move to the Seat’s edge at many times.
What is your next project sir?.
Karthik.
hi kathiir anna,
this is jones from salem.now only i found ur blog i was searching for a long time i feel so happy now.im a great fan of ur photography from katrathu tamil itself.
ur camera in subramaniyapuram was really super. i didnt see nadodigal yet but i saw the trailer in indiaglitz.com ur work is super.
i want to see u wen i come to chennaior anywhere in shooting spot.pls do reply me to my mail id its joneskirupakaran@gmail.com im waiting for ur reply
Hi kathir,
Its been long since u posted new stuffs on ur blog…great wrok in nadodigal..enjoyed every bit of it….I was flabbergasted by the way the scene whr bharani gets hit on the ear by a pump was picturised…great shot man…would like to knw the insides of tht shot..how was it shot….Climax was good…but i believe it could have been better…on the whole a great one to follow subramaniapuram….whts ur next project…lookin forward to ur next blockbuster…N one last query…I felt u gave ur best in TAMIL M.A and subramaniapuram….I felt tht u were not used to the fullest of ur capacity..wht say…am i rite?