Oct 172005
 

Time Mag­a­zine makes a list of the best books of this cen­tury — a list skewed towards pop­u­lar lit­er­a­ture — and me likes it very much. Le Carre makes it and so do William Gib­son and Neal Stephen­son. And Bel­low and Roth. Very cool.

Update: John Le Carre has long been a per­sonal favorite — I’d argue a bit over the book cho­sen to rep­re­sent Le Carre in the list (Tin­ker, Tai­lor, Sol­dier, Spy or The Lit­tle Drum­mer Girl would’ve been bet­ter choices, but at least they didn’t pick The Con­stant Gar­dener), but no quib­bles with him being in the list. He did the hard­est thing you could ask a writer to do: mak­ing lit­er­a­ture out of the most dumbed down fic­tion genre. Now if he’d only start writ­ing code­break­ing books set in the Vatican…

William Gib­son and Neal Stephen­son are much over­looked writ­ers. Just because they write Sci­ence Fic­tion, the lit­er­ary types sneer, hold their noses and walk away from them. But if the value of a book lies in the amount of (smart) enter­tain­ment it pro­vides, then Neu­ro­Mancer and Snow­Crash are right up there with the best. Crypto­nom­i­con too, but I’ll live with this.

 

Let’s call this guy Krishna, because I don’t know what his real name is. He is an assis­tant direc­tor in Tamil movies, and like every­one else employed thus, his life is

a) cur­rently very mis­er­able.
b) cen­tered around dreams of mak­ing it big some day.

One day, Krishna says, he got to meet the head of a large pro­duc­tion house. After com­pli­ment­ing the head of the large pro­duc­tion house on his mag­nif­i­cent pecs (you can be a hero saar!), Krishna went on to nar­rate the screen­play of his dream movie to the guy. The nar­ra­tion went well, Krishna says, and the head thanked him and told him he would keep him in mind for his next movie.

A few months on, the large pro­duc­tion house announces a big bud­get movie. And won­der of won­ders, Krishna says, it is based on his screen­play. So he approaches an arbi­tra­tion body. The hear­ing went like this:

Mr. Krishna, you claim that this movie is based on your screenplay.”

Sir, yes, sir.”

Can you prove it?”

Of course sir. I will nar­rate the screen­play line by line right here.”

Pro­ceeds to nar­rate it.

That’s pretty good. But you could’ve just sneaked a peek at it when it was lying around some­where. Got more proof?”

Sir, yes sir. I will now tell you exactly when and where I nar­rated the screen­play to the head of the large pro­duc­tion house.”

Pro­ceeds to tell them exactly when and where he nar­rated the screen­play to the head of the large pro­duc­tion house.

And that’s proof? Give us some­thing more con­crete man.”

I will go to the tem­ple of your choice, light some cam­phor and swear in front of the deity of your choice that it is my story. I dare you to ask the head of the large pro­duc­tion house to do the same thing sir.”

Holy cow, that is irrefutable proof. Let me call the head of the large pro­duc­tion house and set up the showdown.”

Other mem­bers of the arbi­tra­tion com­mit­tee nod sagely.

No not 55-word story that ran over, though I wish it was. This came straight out of this story from an online news­magazine. Link (in Tamil). The only part I made up was the line about the arbi­tra­tion com­mit­tee mem­bers nod­ding sagely.

I believe this legal strat­egy has a lot of poten­tial. For starters, I sent an email to Mr. Banville today claim­ing that The Sea was my work. I’ll even go to a church if he wants me to.

 

Banville doesn’t always help his own case. A few hours before the cer­e­mony he con­fided to an Amer­i­can jour­nal­ist that The Sea was “a bad book”. [Link]

It is nice,” said John Banville on Mon­day night, “to see a work of art win the Booker prize.“[Link]

 

Lord William[1] was the British Col­lec­tor of Salem some­time in the nine­teenth cen­tury, and he didn’t par­tic­u­larly care for the job. He gov­erned with cal­lous arbi­trari­ness, car­ing and kind one day, cold and heart­less the next; mix­ing up bizarre admin­is­tra­tive deci­sions with incred­i­bly smart ones.

He was in a par­tic­u­larly foul mood that Octo­ber after­noon — he had already walked a cou­ple of miles, and had 3 more miles to go to get to his car. There were no roads in this god­for­saken clus­ter of vil­lages west of Salem, and it is not clear why Lord William was there in the first place. But he was there, and he was tired and hun­gry. The smell of food com­ing from a house nearby was not helping.

And then, in a typ­i­cally brash ges­ture, Lord William decided to step into the house. The peo­ple that lived in the house were cooks, and on that day the fam­ily was mak­ing Adhi­rasams. There must have been a hun­dred of them in the enor­mous drum-like con­tainer: Lit­tle brown discs; a glossy, satiny brown, glow­ing from the ghee. The fat man was mak­ing more, paus­ing only to wipe the sweat off his face with his veshti. His son, no less cor­pu­lent, no less sweaty, was nap­ping at the front door.

Lord William nudged the son gen­tly with the roll of paper in his hand. When he didn’t respond, the Lord walked into the kitchen, shoes still on, and after a friendly glance at the dad, picked up an adhi­rasam from the con­tainer and bit into it. Oh, the plea­sure! Later, he would tell his wife, the Doraisani, that as the thing melted in his mouth, he could feel his tired­ness melt­ing away. She would think he was nuts.

But now, he was eat­ing his third adhi­rasam, obliv­i­ous to the anger of the fat man. The poor fel­low was mak­ing these for someone’s dhevasam[2] and he wasn’t at all sure the dead guy would appre­ci­ate this hea­then man eat­ing stuff meant for him. Espe­cially if the hea­then had licked his fin­gers after fin­ish­ing one adhi­rasam, and used the exact same fin­gers to pick up another one from the drum. This batch of adhi­rasams was doomed.

After three, Lord William stopped eat­ing. He was stuffed. He took a few more and put them into his pock­ets. He then told the dad he didn’t have any cash on him at the moment, but he was the col­lec­tor and all, and that he should come meet him tomor­row at Salem and col­lect money for the Adhi­rasams. He added as an after­thought, “And bring a few of these with you when you come meet me tomorrow.”

The next day, the fat man woke his son up early in the morn­ing and asked him to go to the city with the (defiled) drum full of sweets and get some dough from the col­lec­tor. After a sump­tu­ous break­fast, the son started for Salem, drum on his head, a thirty mile walk.

He walked and walked and walked, and in about an hour, he was very tired. Another hour, and the sump­tu­ous break­fast had worn off. He decided that he needed some seri­ous R&R, so he sat under a tree and ate a few adhi­rasams. And then he walked and walked, and took another break.

If his progress were to be plot­ted against time, one would have noticed that for higher val­ues of t, the dis­tance cov­ered had decreased con­sid­er­ably. If one were to look for rea­sons for this alarm­ing decline, one would have to look no fur­ther than another graph of time vs breaks. It might also be per­ti­nent to note that with each break he took, the con­sump­tion of adhi­rasams increased at an alarm­ing rate.

By the time the fat son arrived at the Collector’s office that evening, he had eaten all the adhi­rasams. Not one left. After some lay­ers of low level bureau­crats, he is ush­ered into the room of Lord William. Lord William pays the guy a few rupees, and looks cov­etously at the drum.

Got more?”

The fat son grins sheep­ishly and tells the Col­lec­tor that he did bring a few, but he ate them all, long walk sir, sorry. Dis­ap­pointed, Lord William asks, “Why not bring more man? Your dad had a lot in there yes­ter­day.” The fat son grins even more sheep­ishly and tells the good Lord that he brought the whole lot, and ate the whole lot.

Get out of here man,” the Lord says and as the son starts walk­ing away, he tells him that the phrase is an expres­sion of dis­be­lief and that he shouldn’t really get out of here. The Lord is sure the son is mess­ing with him, given that he only ate three the other day and had to skip din­ner. About an hour of intense ques­tion­ing fol­lows, and the son keeps insist­ing that he did indeed eat the entire batch of adhi­rasams. Finally, the exas­per­ated Lord William sends the son home, with an omi­nous warn­ing: “I’ll find out sometime.”

A few months passed, and the good Lord William has to take a trip to Mamundi again. The rea­sons for his trip are unclear, but it has been sug­gested he was con­sumed by the thought that some­one could eat so much food, and wanted to go back and find out. The evi­dence for this the­ory is strength­ened by the fact that he headed straight for the house of the fat cooks. And in an inter­est­ing stroke of luck, it was lunchtime and the fam­ily was get­ting ready to eat.

You,” Lord William says, pulling up a stool in front of the fat son, “I want to see you eat.” Then he gets up and walks to a char­coal stove, a pot of rice sim­mer­ing on top of it. “How much rice in here?” he asks the fat dad. “Six kilo­grams, Durai,” is the reply. Six kilo­grams of rice, in case you are won­der­ing, could feed a large fam­ily for a large num­ber of days. The Lord takes the entire pot, places it in front of the son and tells him, “If you eat all of this, I’ll make you a rich man.”

Over the next hour, the fat son ate all of it.

Lord William couldn’t believe his eyes. It is his turn to be a lit­tle sheep­ish, for hav­ing ques­tioned the integrity of this remark­ably tal­ented young man. “Come with me,” he says, and takes the fat son on his horse drawn car­riage to a secluded spot near the village.

Run, young man. Start here and run as far as you can. Stop only when you tire. Run.”

But why sir?”

I wronged you. I ques­tioned your integrity. So run now.”

I am not sure that makes it any clearer, sir.”

Run as far as you can, and I will give you all the land you cover. That’s my way of mak­ing up things to you.”

The fat son believes this is rea­son­able evi­dence that the Lord is slightly off his rocker. He stays put. Then the Lord bran­dishes an off­i­cal let­ter­head, and writes down what he just said and hands it to the son. The young man can­not believe his luck. A lot of land would mean a lot of food for the rest of his life.

So he runs and runs and runs, and in a few min­utes he is tired. But he won’t stop to rest. He runs some more, and gets tired some more. No stop­ping now. He thinks he could use an Adhi­rasam though. That thought pro­pels him for a few min­utes more, and then he stops to rest under a tree. He then pro­ceeds to die right there.

The good Lord is apalled, and his sheep­ish­ness is now replaced by remorse. But true to his word, he draws an imag­i­nary cir­cle using an imag­i­nary com­pass and gives all the land that the young man cov­ered to his family.

If you ever go to a vil­lage called Mamundi, and see a big piece of farm­land called the “Six Kilo­gram Brah­min Farm,[3]” do tell the peo­ple around you that you know the his­tory of the land. If they ask you how you know the story, tell them you read it on the blog of the great nephew of the fat son. Cluck your tongue in sym­pa­thy when they tell you that most of the land is now res­i­den­tial. And get some­one to make you an Adhirasam.

[1] My dad, who nar­rates sto­ries much bet­ter, wasn’t sure what the Lord was called. He kept call­ing him Dorai, but I told him it was very unlikely a British fam­ily would name their son that.

[2] A Dhevasam is an yearly rit­ual to honor dead peo­ple. The food is usu­ally very good.

[3] Aaru Padi Pap­pan Kadu is the name of the farm. It passed through a cou­ple of gen­er­a­tions, and today, the orig­i­nal own­ers have sold most of it.

[4] The son may not have been fat. Or even the dad. But some­how, that’s always the way I think of them.

The Oscar Of Books

    Lit, Etc.  Comments Off
Oct 122005
 

Boyd Tonkin in the Independent

Yes­ter­day the Man Booker judges made pos­si­bly the worst, cer­tainly the most per­verse, and per­haps the most inde­fen­si­ble choice in the 36-year his­tory of the con­test. By choos­ing John Banville’s The Sea, they selected an icy and over-controlled exer­cise in coterie aes­theti­cism ahead of a short­list, and a long list, packed with a plen­i­tude of riches and delights.

The Dublin nov­el­ist, whose emo­tional rage is lim­ited and whose prose exhibits all the chilly per­fec­tion of a wax­work model, must today count him­self as the luck­i­est writer on the planet. This was a trav­esty of a result from a trav­esty of a judg­ing process.

Rick Gekoski in the Times

In the end it came down to a debate between The Sea and Never Let Me Go, and we made the right choice. The Sea was the best book of the year. It is not going to be the most pop­u­lar, and after the award was pre­sented I was imme­di­ately bearded by an irate book­seller from one of the big chains, who told me that it was a “dis­grace­ful” deci­sion, and that The Sea would be impos­si­ble to sell. I don’t know if that is true, and I don’t care. Banville has writ­ten a com­plex, deeply tex­tured book, with won­der­ful, sin­u­ous and sen­su­ous prose. You can smell and feel and see his world with extra­or­di­nary clar­ity. Banville has writ­ten a com­plex, deeply tex­tured book, with won­der­ful, sin­u­ous and sen­su­ous prose. You can smell and feel and see his world with extra­or­di­nary clarity.

John Suther­land, in the Guardian.

Banville doesn’t always help his own case. A few hours before the cer­e­mony he con­fided to an Amer­i­can jour­nal­ist that The Sea was “a bad book”. With authors like that, who needs Tibor? Nor, it would seem, was Banville indulging in false mod­esty. He came over to Lon­don from Philadel­phia on the day of the award and booked his flight for 8am the fol­low­ing day. He wouldn’t win. No chance. Bad book. Pack your bag.

Banville is, as I observe him, an egre­giously mod­est writer. He is also, as I read him, an egre­giously good writer.

Karthik, on this very blog.

This is almost Oscar qual­ity bitch­ing, but not quite there yet. The lan­guage, guys, work on it. Avoid plen­i­tude, egre­gious, trav­esty and sin­u­ous. Avoid bearded too, unless you want to refer to some­one with exces­sive facial hair on the chin. You can use weirded if the per­son sport­ing the beard is not male. Sen­su­ous is ok, use it a lot more. But please, no Joan Rivers.

In case you are won­der­ing, I haven’t read The Sea. I am plan­ning to go to the local book­store tomor­row and ask them if they have “The Sea.” I have even odds on what I’ll get:

1. A C Lan­guage Primer.

2. An incred­u­lous look.

But then, tis’ the sea­son for long odds.

PS: The Babu doesn’t like the choice, even after a (pre­scient) par­ody of the ago­niz­ing wait.

And oh, if you have time, check this short story by Fal­staff out. Very cool.

 

Adver­tis­ing enjoys a lot of lat­i­tude. It stretches the truth, exag­ger­ates the good, plays down the bad, skirts the incon­ve­nient facts and even fibs occa­sion­ally, yet we accept all this good naturedly and move on. It is part of the busi­ness (we say) or the nature of the beast.

For instance, I don’t seri­ously expect Sachin to serve me a hot cup of Boost (yuck!) when I visit him next time, nor do I expect Kum­ble to have a clue about the type of engine oil his cars use. I know a stu­pid piece of candy will not alter anyone’s mood (Believe me, I tried).

The key of course is to stay in the gray area between truth and deceit, and to never make claims that are spe­cific and false. Like a uni­ver­sity could claim to have “incred­i­ble facil­i­ties” and we’ll be fine with it even if they func­tion in a run­down ware­house; but if they claim to have seven swim­ming pools in the run­down ware­house, or 37 super­com­put­ers when they have none, then we are not fine with it. A line has been crossed.

Which is what this insti­tute called IIPM did. Cross that line, by blithely mak­ing false claims that were eas­ily dis­proved. Pretty dumb thing to do. Some dili­gent enquiry by some smart folks, and oops, they got caught. Now what? Stay put, and let the stu­pid thing die. Call the smart folks, and tell them, “well, we are work­ing on it — we bought the swim­ming pool on Ama­zon, their ship­ping pol­icy sucks,” what­ever. The smart folks were rea­son­able peo­ple, I am sure they would’ve lis­tened to you.

But then, if the insti­tute was dumb enough to make spe­cific false claims, then what do you expect them to do when they get caught? Bully their way out of it. That’s exactly what they tried, and it is such a mess now:

Read the whole story here or here.

On another note, this might be a test of how much the blo­gos­phere in India can really do. Every Indian blog I know of is talk­ing about this, and this might be the most con­certed effort by Indian blog­gers to take on an entity.

Can blog­gers shape opin­ions, or is it just a few thou­sand peo­ple delud­ing our­selves that we have more power than we actu­ally do?

PS: Do you think Boost’ll sue me next? Boy that would be fun. I could get Mal­tova to pay my legal costs. I would be an icon in the blo­gos­phere, and everyone’ll stand up when I enter rooms, and talk in hushed whis­pers behind my back.

 

John Le Carre, who used to write spy thrillers before he started in his cur­rent job as a writer of anti-Capitalist rants dis­guised as nov­els, dis­cusses his pol­i­tics (more than his books) in this ran­corous Guardian inter­view that would make a Naipaul proud. If you sift through the stri­dent attacks (on Blair, the US, anti-egalitarian estab­lish­ments, pub­lic schools) there are some inter­est­ing bits, like this one where he talks about movie adap­ta­tions of his books.

[…] it is unusual for Corn­well to feel other than mauled when his books hit the screen.

I have been through the sheep dip with movies before but, like every­body else, I blame myself. I have writ­ten what I thought were very attrac­tive books that have bro­ken down badly for film. If they weren’t sat­is­fac­tory movies, I was part of the process that made them unsat­is­fac­tory. I don’t feel that I was used or tra­duced, but many weren’t very good. Some, though, were. The film of The Spy Who Came In from the Cold was pretty good. Tin­ker Tai­lor was really good.” He under­stand­ably for­bears from nam­ing those sheep-dip adap­ta­tions, but The Rus­sia House, The Lit­tle Drum­mer Girl and The Tai­lor of Panama are surely contenders.

And now, in Cornwell’s esti­ma­tion, the adap­ta­tion of The Con­stant Gar­dener is really good, too.

Le Carre is not a ranter. His will­ing­ness to make polit­i­cal state­ments out of his books makes their lit­er­ary qual­ity suf­fer — the writ­ing is too stri­dent and lacks the flair that’s needed to make the pol­i­tics palat­able. A flair that Kurt Von­negut, for instance, had loads and loads of.

And through Book­Slut, here is a Von­negut inter­view on USA Today to pro­mote his new book, A Man With­out a Coun­try.

What do you want to talk about? Pol­i­tics? Our pres­i­dent is a com­plete twit. I’ll talk about the death of the novel. I’ll talk about any­thing you want.”

You may not know from the inter­view, but Cat’s Cra­dle and Slaugh­ter­house Five are per­haps the best exam­ples of overtly polit­i­cal books with lit­er­ary merit — they are great reads even if the pol­i­tics is unpalatable.

 

If there is some­thing that makes me incred­i­bly envi­ous, it is all those blogs that carry reports of blog­ger meets. You see, I live in a remote cor­ner of the world, a cor­ner where there is one Indian blog­ger. Why, even North Dakota would be a bet­ter place than this. These days, I am con­sumed by thoughts of blog­ger meets, and my favorite dream goes like this:

Venue: An expen­sive cof­fee shop some­where in the world. We had called ahead to book the biggest table in the house, but when we enter, some poor sod is sit­ting there all by him­self, sip­ping cof­fee. There are a cou­ple of guys on the next table, gawk­ing with­out shame, peri­od­i­cally inter­rupt­ing their gawk­ing to type some­thing on their laptops.

Amit: “Waiter, looks like our table isn’t avail­able yet.

Waiter: “Why yes sir, let me go tell the guy to move to another table.

Prufrock­Two: “One should give him a few min­utes. Let the poor guy fin­ish his cof­fee.

Dilip: (Ears perk­ing up on hear­ing the word poor): “Who said some­thing about fin­ish­ing the poor? Haven’t we done that enough already? We should all give up our houses for them for this city runs on their sweat. I took a train jour­ney through India last week, and there was this poor lady who grinned at me through her tears of hunger. She had a red saree on her, how sym­bolic. That’s India for you.

Mean­while, some­one arrives.

Hur­ree Babu: “Hello, I am Hureee

Me: (to anony­mous blog­ger sit­ting next to me): “Hur­ree Babu is a cross-dresser?

Anony­mous Blog­ger: “No you dork. Hur­ree Babu is her pseu­do­nym.

Suit­ably chas­tised, I shut up for the rest of the meet­ing. The poor guy fin­ishes his cof­fee, and we are all seated. Another arrival now.

J Alfred Prufrock: “Hello every­one, sorry I’m a lit­tle late.

Chan­dra­has: “That’s ok, dear sir. Dear waiter, can you please bring me a cup of cof­fee?

Fal­staff: “Cof­fee reminds me of a poem.” Starts speak­ing in verse.

Amit: Looks around at the glum faces. “Ok, let me break the ice with a joke. The license raj is a joke. Big Gov­ern­ment is a joke. God is a joke. Heh. That was three jokes in one.

J Alfred Prufrock: “Great joke! Let me ask you guys a ques­tion that has been both­er­ing me for some time. I’d like to find out how you tell some­one their cof­fee sucks.

Nilu: “You puke on them.

Wait­ers: “You seem to be hint­ing our cof­fee sucks. We smell supe­ri­or­ity. You are a pompous man.

J Alfred Prufrock: “Oh no, That’s not what I meant. I mean, I was not try­ing to make a state­ment on the qual­ity of this spe­cific cof­fee. I was idly won­der­ing about a poten­tial social sit­u­a­tion.

Tilotamma: “Idly? Idlies make my mouth water. Espe­cially with coconut chut­ney. Man, oh man.

J Alfred Prufrock: “As an adden­dum, I would like to issue a clar­i­fi­ca­tion; your cof­fee might actu­ally be ok.

Wait­ers: “Might?

Fal­staff: “Give the poor guy a break will you, all he did was ask an aca­d­e­mic ques­tion.

Dilip: “Poor? Did some­one say poor? Yes, the poor need a break from cap­i­tal­ist oppres­sion.

Amit: “Cut it out will ya? Waiter, can I get another cof­fee please? With cow’s milk. Cows are very cool.

Bridal­beer: ” Brian liked Moun­tain Dew. Bill does too. But I don’t. Mean­while, the dog barks. A good cup of cof­fee helps peo­ple rumi­nate. It also helps them uri­nate.

Prufrock­Two: “One is impressed by your con­vo­luted logic. One would have never thought rumi­nate and uri­nate could be linked together so effort­lessly. One would like to point you to a story on how great writ­ers rumi­nate that appeared in this Zam­bian news­pa­per.

Bridal­beer: “Brian surfs the inter­nets. He shows as always Away on Yahoo. Rumi­na­tors are wimps. The bark­ing dog is gone now.

J Alfred Prufrock: “Inter­est­ing points. All three of them. I would like to add a cor­ri­gen­dum to my ear­lier response. Did I men­tion my ques­tion was purely aca­d­e­mic?

Dilip: “Did you say poorly aca­d­e­mic? How can the poor think of aca­d­e­mics when their houses are being destroyed?

Rohan: “Who said some­thing about let­ting the poor be? Haven’t we done that enough already? We should give up our houses for them for this city runs on their sweat. I took a train jour­ney through India last week, and there was this poor lady who grinned at me through her tears of hunger. She had a red saree on her, how ironic.

Dilip: “Yes, exactly.

Kiru: Sneezes.

Anon Com­menter 1: “That was cool.

Anon Com­menter 2: “Very cool machan.

Anon Com­menter 3: “I love the way you sneeze.

Kiru: “Thanks. I will post pic­tures tomor­row.

Rohan: “Ok, Let me break the ice by start­ing off with a joke. The license raj is a joke. Big Gov­erne­ment is a joke. God is a joke. Heh. That was three jokes in one.

Prufrock­Two: “One gets the feel­ing one has heard this joke before..

Dilip: “So what if he pla­gia­rized a joke? It was a bad joke to start off with. Gov­er­ment is not funny busi­ness.

Bridal­Beer: “The smell of thiev­ery wafts in like a gen­tle breeze. Brian lacked chivalry. His shoelaces never stay tied.

Nilu: “Puke.

Jab­ber­wock: Lifts head up from book, checks out crowd, and buries head back.

Chan­dra­has: “Time to end, I guess. This meet is almost as long as my posts.

Amit: “Wait, I wanted to talk about why Big Gov­ern­ment sucks. Maybe a few more min­utes.

J Alfred Prufrock: “A few more min­utes is fine. I don’t know if I men­tioned that I thought the cof­fee here is actu­ally much bet­ter than the one I make…

Amit: “I guess you were right, Hash. We should be leav­ing.

As we walk out, I asked the anony­mous blog­ger next to me who the gawk­ers at the next table were.

Oh them? They are the Desipun­dit guys. They keep track of every­thing that hap­pens in the blo­gos­phere.

Ah!

PS: In case you didn’t notice, this post is cat­e­go­rized under Humor. Heh.

Oct 052005
 

Every so often, I get mad at the way things are in this world. Very mad. For not turn­ing green when I approach, for start­ing off the Konkani songs seg­ment at the exact instant I enter my car. For cut­ting… the point I want to make is that when I am angry, I am even less coher­ent than I am usu­ally. I rave, I rant, I scream, I yell (Shut Up! I know yell and scream mean the same thing.) and make full use of my con­sid­er­able vocab­u­lary of home­made eight let­ter port­man­teaus. I stay away from the com­puter in such moods, for this is clearly not some­thing you want to read on a blog. Unless you are into that sort of thing, in which case I sug­gest you cut me off when I am dri­ving to work tomorrow.

But some peo­ple, they thrive on anger. Like DoZ here, start­ing off with an inno­cent sound­ing sen­tence that nor­mal angry human beings might use,

We’re a soci­ety under siege, at the mercy of tykes & teens. Every where you turn, you’re con­fronted by yet another instance of some­one bend­ing over back­wards to cater to children.

and then pro­ceed­ing to wax poetic on Lem­bas Bread, Capote, and (hold your breath) UN sta­tis­tics. Damn. Also some men­tion about a char­ac­ter called James Bond that was in the recent Halle Berry flick, Die Another Day … wait a minute, that was another post. Not the same amount of anger, but just as cool.

Manoj is angry enough to think Mad­ha­van deserves a left hook to his jaw for think­ing Black was a good movie. I shud­der. What would he do to Bhavna Giani, when he reads her let­ter?

Gay­athri mean­while points us to peo­ple that make money for rant­ing in this neat review. Shashi Tha­roor, who has declined con­sid­er­ably since The Great Indian Novel appar­ently col­lected his choic­est rants and pub­lished them in a book called Book­less in Bagh­dad. And Gay­athri paid money (I pre­sume) to read this. Inter­est­ing. I think I have a fair idea of who’ll cut me off tomorrow.

 

Gha­jini, star­ring Surya and Asin and directed by A.R. Muru­ga­doss is a remake of Memento. Yes, that Memento. If you have even a pass­ing famil­iar­ity with the film indus­try in India, you will know right away that a remake of a Hol­ly­wood clas­sic means a watered down ver­sion that takes the orig­i­nal premise, and some­how con­trives to wrap it around a “love-story,” five songs, sev­en­teen fight sequences, and sev­eral voice overs that explain cru­cial plot points to the audi­ence. And so, there is a cer­tain recal­i­bra­tion of expec­ta­tions that is required to enjoy such remakes.

Viewed from a lens thus recal­i­brated, Gha­jini is an emi­nently enjoy­able movie. Muru­ga­doss bor­rows the rudi­men­tary plot from Memento — revenge of the amne­siac — and man­ages to Indi­anise it with­out too many holes. The script­work and screen­play are tidy, and the dia­logues refresh­ingly down to earth. Even the two hero­ines don’t seem too out of place in the script and that in itself is an achievement.

Surya and Asin act rea­son­ably well and Nayan­thara has a role that is periph­eral enough that her per­for­mance doesn’t mat­ter too much. Although, I must admit I was a lit­tle trau­ma­tized when I saw her dance to an item num­ber — every part of her lit­er­ally shook, and in a star­tling reminder of Newton’s first law, cer­tain parts kept shak­ing even after she had stopped dancing.

*Digres­sion* If you are a col­lege pro­fes­sor who came to this page through Google look­ing for “Nayan­thara, shak­ing, New­ton,” feel free to ignore my Cre­ative Com­mons license and use this exam­ple to teach New­ton to your stu­dents. You can even take them on a field trip to the near­est movie the­ater play­ing Gha­jini. *End Digression*

Sur­pris­ingly enough, the best part of the movie is the flash­back — the manda­tory sequence to explain how Surya lost his mem­ory and hair. Muru­ga­doss is very com­fort­able han­dling the roman­tic scenes between his lead pair, and the casual humor that per­vades the romance between Surya and Asin is a treat.

The songs are atro­cious, and the stunt sequences are a lit­tle too long, but over­all Gha­jini is one of the bet­ter masala movies out of Tamil this year.

The Fly On The Wall:

Reg­u­lar read­ers of this blog (can you laugh a lit­tle less loudly, please?) are prob­a­bly aware that we have sources all over the place. A cou­ple of them were will­ing to talk to us (off the record of course, what do you think?) for this review.

A con­ver­sa­tion between Har­ris Jayaraj, the music com­poser and Muru­ga­doss, the director:

So Har­ris, what do you think about the movie?”

Har­ris mum­bles, then stops, grins, scratches his hair, picks his nose and mum­bles again.

So Har­ris, what do you think about the movie?”

Har­ris mum­bles again. “Do you think my hair is long enough?”

Let us get this straight man — you do a pathetic Rah­man imi­ta­tion. Now answer my frickin’ question.”

Hmm, it is good. Grunt. Umm. The flash­back is funny. But the rest of it is very seri­ous. Need more comedy.”

You think so? I asked the pro­ducer for more money to shoot some funny scenes, but he said no. Now I am worried.”

Hmm. Umm. Hmm. Umm. I will take care of it with my back­ground music.”

Huh?”

Wait and watch.”

Watch we did. And we are glad to report that Har­ris was very, very suc­cess­ful in his endeavour.

When­ever Surya shows up on screen, a voice screams in the background:

Bo Zo.…. Bo Zo. Booooo.… Zooooo.” The speed of the chant varies accord­ing to the need of the scene (nat­u­rally). To ensure that the same joke doesn’t get repeated too often the next time Surya shows up, the same voice chants:

Zo Lo.. Zo Lo…Zo Lo”.

I have to admit, it had me in splits. Great job, dude.

A con­ver­sa­tion between Surya and his Dad:

Dad, I have this role in this new movie and I am sup­posed to be an amne­siac for good two hours. Any advice?”

Drink coconut water, don’t smoke, don’t drink, do Yoga and get out of your rela­tion­ship with Jothika.”

Dad, I asked for act­ing tips, not this crap.”

Oh, ok. Have you seen me act angry in movies?”

You mean where you keep your body erect, roll your eyes and shake your head robot­i­cally back and forth?”

Yes. Exactly. Do that.”

For once, Surya lis­tened to his dad.

PS: Hemant has a more con­ven­tional review up on Instant Kaapi, and I agree with most of what he says.

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