One of the most famous examples of such movies is Orson Wells’ ‘Citizen Kane’, which he wrote and directed early 20th century. When it was released, it was widely derided. Today, it is always cited as one of the best American films and the American Film Institute declared it the best American film of the 20th century.
Tamil cinema too has its share of such films. One of the earliest examples that come to my mind is ‘Anthanaal’ released early 1950s soon after ‘Parasakthi’. It showcases one of Sivaji Ganesan’s best performances ever. I would go so far as to say it surpasses his performance in the much loved ‘Parasakthi’. If one sees the two films side by side today, Sivaji’s acting in ‘Parasakthi’ looks theatrical but his performance in ‘Anthanaal’ looks very modern. I would go out in a limb and say his performance here is the first example of realism in terms of acting in Tamil movies. Tamil movie would not see such performances (in natural dialogue as spoken by the people in real life and not as though in a stage which veers to classical Tamil) until more than a decade later. Among serious connoisseurs of Tamil films, ‘Anthanaal’ is considered a gem and one of the classics of Tamil cinema.
The same can be said of Mani Ratnam’s ‘Iruvar’. It was a critical and a box-office disaster when it came out. Today it is recognised as one of his finest works and one of the best examples of a bio-pic in the Indian film history.
The list of underappreciated Tamil movies goes on. Add to this list ‘Raktha Charitiram’ (RC) which elsewhere was released as ‘Raktha Charitra 2’ but in Tamil was released as one movie RC. I did not see RC1 (but I certainly will after having seen RC).
First of all RC works as a complete movie by itself. Ram Gopal Varma (RGV) did a great job in condensing RC1 into the first 20 minutes of RC. Surya who plays the character of Surya Reddy makes his appearance after 20 minutes – something unheard of in Tamil movies for a hero. But my goodness! What an unforgettable appearance he makes!
I always thought that only Gautam Vasudev Menon could photograph Surya beautifully. Now, he has tough competition from RGV. RGV has captured the emotions of Surya’s eyes and his physique magnificently. The unusual camera angles for this movie are another plus point. They are also another reason why this movie merits a repeat watching. Watch out for the camera angles in the court scene and in the prison fight scene. The latter is one of the most stunningly choreographed fight scenes ever — all done in slow motion with each sinew of Surya’s muscles lovingly captured by the camera. After watching this scene one immediately thinks of Shakespeare’s line, “What a piece of work is man…in form and moving how express and admirable…”
Then, there are the infamous 360 ͦ camera angles that seem to irritate some. In the first instance it is used in the movie – right after the assassination attempt on Prathap Ravi (Vivek Oberoi) – it works quite well. It seems to symbolise the world in Anantapur (and in Prathap’s and Surya’s life) turning upside down after that attempt. Subsequent attempts work less well. The extreme close ups are effective in that it showcases the actors’ ability to signify the smallest emotions just their facial expressions.
The screenplay was tightly written. There were no unnecessary scenes: each scene progressed the story further. The director manages to hold our attention by focusing on characters and the plot. One does not have to be well versed in Andhra politics to appreciate it as it works well on its own (having read in the internet on real life blood feud between the two characters on whom the story is based. I would say RGV has done a great job in marrying fact and fiction to present a story as he sees it). All the peripheral characters have played their part well. Even if their screen time is only 15 minutes, they came and leave an indelible mark. Sudeep, the famous Kannada actor plays a suave police officer DCP Mohan Prasad (suave police officers are a rare breed in Tamil movies. Most of the police officers even the cool but awkward-with-women Anbuselvam of Khakaa Khakaa are all mean killing machines). You wish you could have seen more of him but he comes, he acts and he delivers. The same for the two female protagonists – Nandini (Radhika Apte), Prathap’s wife and Bhawani (Priyamani), Surya’s wife. Although, given limited screen time due to the nature of the story (the story is about two men after all) they perform admirably: Radhika with a mixture of vulnerability, devotion and toughness; Priyamani with her rage and absolute belief in her husband’s cause. These two women created more impact with their brief screen appearance that the average Tamil film heroine who appears for 5 songs and numerous irritating scenes.
The pulsating background score is another major plus. It gives the movie an almost Tarantinoish feel to it. Rarely has background score and slow motion come together so effectively in a movie. Since there are no duets every 10 minutes and only background songs that leads the story forward, it gives hope that Tamil movies can break away from the song and dance routine.
Much has been made of the violence in the movie and how it is not suitable for family audience. Of course, this is not a movie to bring kids and its ratings clearly says so. I can understand if the Hindi audience were squeamish about violence since their movies are usually urban and foreign based laced liberally with sex, comedy and glamour. But for Tamil audience, violence in movies is like mother’s milk. One just has to see the trailer of ‘Siruthai’ to see how much violence in movies that we take for granted. Sure there is violence in RC but in the end it is not as gruesome as some make it out to be.
One cannot talk of this movie without talking about the stellar performances of Vivek Oberoi and Surya. In RC the Tamil version, Vivek stands toe-to-toe with Surya. I have not seen him in RGV’s ‘Company’ but saw him in ‘Yuva’ (Siddharth was better in the Tamil version) and the sleep-inducing ‘Prince’. But who would have guessed he has such fire and intensity in him? The present generation of Hindi actors except for a few (Amir Khan, Ajay Devgan to name a few) can’t seem to convey the feeling of anger and hatred. Looking at some of these pretty faces one wonders whether they can get violent at a lemon. After languishing in mediocre roles, Vivek finally finds one where he can sink his teeth into and he does a magnificent job.
As for Surya, those of us who thought he outdid himself in ‘Vaaranam Ayiram’ and would not find a more challenging role, RC is proof that he gets better with every challenging role given to him. He certainly is one of the most talented actors working in Indian movies today. Surya is one of those rare actors in Tamil movies who lets his eyes do the talking. And RGV has certainly done a splendid job in showcasing this. Rarely, has an actor’s eyes been used so effectively in a movie. The way his eyes change from anger to tenderness is remarkable. Some standout moments in the movie are: the first time he sees the DCP, he looks at him with anger. The moment he realises that the DCP is not as bad as he thought, his eyes soften towards the DCP; when he sees his family massacred, the agony and the horror in his eyes is felt by the audience — and the involuntary twitching in his left eye – seems instinctive rather than put on; when the opposition strikes a deal with him he smiles – with his eyes. How does Surya do it? If this does not get him the National Award, I don’t know what else will.
The scene at the climax when he accomplishes his mission is another masterpiece. There is an equal mixture of joy, rage, happiness and sadness at all that he lost and won to arrive at this moment. And in the scene in the jail where the DCP comes to pay him a visit, the way the camera spies on Surya as Surya slowly looks up at the DCP from under his lids – he comes across as menacing and evil. Perhaps, he has not realised what he has become, something which the DCP reminds Surya. It is one of the fine examples in Tamil films where dialogues get replaced by facial movements. By right Vivek and Surya ought to get some honours for their work here. But whether or not the film fraternity recognises their work remains to be seen.
In Tamil movies where characters are usually portrayed in black and white, it is a pleasure to see these two main characters shrouded in grey. In the end Prathap and Surya are tragic figures. Though ruthless to their enemies, they are also loving sons and husbands to their women. They were two ordinary men who would have been content to lead a simple life but forces beyond their control force them to go on a wrong path. As in most cases like these, once the wrong path is tread, there is no turning back for these two. Blood begets more blood. In that these two men have our sympathies and they do not come out looking totally bad or good. The movie ends with the now widowed Nandini looking at an interview of Surya on TV. The camera focuses on her baby boy she is holding. Would the blood feud follow into the next generation? (Interestingly, Surya Reddy also has a son). That’s the tantalising question posed by the director.
Is RGV glorifying violence and revenge? Of course not! He seems to warn that revenge is a path that is never ending with tragic results for all parties. And events differ when seen from different person’s perceptive.
Is RC for the masses? The few young men sitting behind me were yawning away, hoping perhaps for an item dance to spruce up their interest. If you can’t abide to watch a movie that does not explain how A gets to D without showing you the B and C parts, then avoid this movie. But if you are tired of watching the same old run of the mill where boy meets girl, along with some plot that involves songs and dances in foreign locale then RC is or you.
A last word on subtitles. This movie in Malaysia was shown with English subtitles. The subtitling was good 85% of the time. During crucial moments in the film it was missing. Perhaps the producers should have paid more attention to this.
Whatever the shortcomings of this film, RC will stand the test of time. I am sure in later years it will gain in appreciation. It would be a pity to miss it.
PS: A few days after I written this piece, Maddelacheruvu Suri, on whom Surya’s character was based was gunned down by his own trusted men. Suri had watched both RCs was stunned by Surya’s portrayal of himself and claimed that he was henceforth a fan of Surya. Although, he had a few criticisms in the way the facts were manipulated in the movie, he was more than pleased with the way he had been portrayed by Surya.
By
Menaka baskaran
Email: menakabaskaran@gmail.com
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