Category Archives: TAMIL CINEMA

Cheran’s new film – The end of C2H? 

Reports are emerging online that Director Cheran’s next venture could be with Actor Vijay SethupathiThese are still early days and the actor already has enough on his plate. More over it appears that the information prima-facie has been obtained from secondary sources and that there has been no official confirmation, to that effect. 

If it is announced in a few days hopefully, The movie is more important from Cheran’s perspective as he gets back to what he does best – make good movies. But it isn’t going to be easy by any means. He will need to bury some ghosts of the past. 

Cheran came to almost be single handedly associated with the C2H project, a few years ago that planned a parallel distribution network, but little came of it, because the traditional players opposed it ‘tooth and nail’ and even the potential revenue opportunities that C2H was hoping may not have been largely significant enough (DVD sales were already sinking when the C2H was announced and no one has yet cracked the ‘Online Internet market for Traditional Top-down films’) to convince them to jump ship, if things came down to an’ either-or’ situation. 

Seeing no way out, Cheran bit the bullet himself and released his first film’ JK Ennum Nanbanin Vazhkai ‘on DVD using the C2H branding. The film did not exactly prove to be a trendsetter for this new kind of market. A few months later, C2H released another film’YettiThikkum Madha Yaanai’. That was that. No more films came out from the C2H stable. The internet model plans all went up in smoke. Slowly news coverage of the organization reduced. 
The most recent news about the organization was hardly positive. A case was filed against Cheran owing to a cheque bounce case by a C2H distributor. 

With C2H’s official twitter account not having been updated for over two years now, one can take a safe bet and say it is all over. It’s website too has not been working for quite some time now. 

Even if cheran finishes this movie with Vijay Sethupathi successfully, he will have to go back to the traditional distribution mediums only. 

The C2H model may have failed. But let us give this brave man some credit. 

Personally, I never believed in the C2H model. It had lot of conflicting objectives, which needed deeper thought and analysis. Even if these issues were addressed, a model like C2H would not have worked in a country like India for ‘Top Down cinema’. The production costs of this kind of cinema is so huge that there is no way that C2H would have recouped the costs involved. The obvious logic in theory was that C2H would work in parallel to the traditional Distribution players. But unlike Kamalhaasan’s 1000 Rs scheme for Viswaroopam, which would have created a unique market for the new scheme , and not touched the ‘Pirate’ market because of the cost factor, C2H would not have that advantage. 

The DVDs of C2H films would have been priced between 5o.or 100 Rupees which puts it invariably in the danger zone for pirates to ‘exploit’ – Same content at lower price!!! 

More over the low cost involved meant that this model ( low to medium budget films which C2H was planning) would have only fragmented the users between the traditional players, C2H and ‘piracy’. 

C2H as an intermediary may have benefitted possibly if it attained margins of scale, but it is extremely unlikely that the net revenues to the producer would have increased with C2H model, because of the additional fragmentation. 

But all of this analysis is simply redundant, because the C2H project never even took off. Never the less, Cheran attempted to do something which no one had done before. He may have failed in his attempt, but along with his films, the legacy of C2H will proudly remain when one talks of ‘Bharathi Kannamma’, ‘DesiyaGeetham’or any of his other master pieces. 

P. S – Several attempts were made by this author to contact director Cheran to discuss some of my views on the C2H project. Sadly, there has been no response until date. 

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Gnanavel Raja takes on Tamil Rockers.. 

Last week, one witnessed an emotional outburst of Producer Gnanavel Raja, during a promotion event for the Vijay Antony Starrer ‘ Yeman’. Understandably, for all the pain that Raja has gone through as a producer, being able to do nothing, he spewed all venom against ‘Tamil Rockers’, an alleged website that promotes Online Media Piracy of Tamil films.

Although Tamil Rockers is just one of the possible hundreds of ‘strength-in-depth’ Tamil based Piracy websites, TamilRockers has nearly became the face of ‘Tamil Piracy’. The reason for this has to be strongly attributed to its presence on Social Media, typically, something that has become a way of our lives – The Meme culture.

It is unknown who makes these memes supporting Tamil Rockers. It could be someone associated within the website network itself or it could be a fan or a supporter, but with the power of social media, TR has obtained immense popularity over atleast the last 6 months.

This has immensely helped the site differentiate itself from its potential competitors, and has nearly almost grown to become the face of ‘Tamil Piracy’, as much as ‘The Pirate Bay’ represented the ‘Adhi’ and ‘Andham’ of Piracy at its peak.

The moot problem in my opinion in this case is while TR like any other Piracy network causes monetary losses to the Cinema Industry, it additionally with its memes coming out on Social media ( which the public mock for a minute and forget) takes a dig at the near impotency of the Film Industry, that they can do nothing about it.

So, now Gnanavel Raja has decided to jump into the administrative bandwagon to see if he can control this horse. He hopes to pin down ‘TR’ in six months and stream the live event of sending the folks behind ‘TR’ to jail. The irony however is that, even if such an event happened, neither would it be a ‘publicity stunt’ or a ‘deterrant’. How many of the public even remember the raids that Actors ‘Parthiban’ and Vishal did on Pirated DVDs? How many people remember Poor Premji coming out and cribbing against Pirates, when Biriyani’s Audio was pre-release-pirated? I dont think there would be many.

Even if we assume that ‘TR’ is shut down for good, will it affect the Public? I don’t think so. Names like ‘MegaUpload’, ‘KAT’ and “TPB’ were once names ‘allegedly’associated with Piracy. They are no longer at their prime. Infact, some of the leaders in this field do not exist. Their assets have been seized, their Servers are down and they no longer are able to serve feeds, as they once used to. Does this make a difference on the users, who once used these websites? No. Those who consumed such content have simply moved on. Their attitude towards both the ‘copyright holder’ and the ‘person or website serving such content’ is just ‘indifference’.


A very interesting response from the end users perspective, taken from a Social Media post which came into my FB feed. A lot of these points have been discussed at various places earlier, like Cheran’s C2H business model for example. 

Cinema which has one of the most distinctive features of being an early’ art’ and ‘cultural’ medium that brought various classes of people together seems to slowly move toward in a direction not much desirable,  from the perspective of the generic film watching public. 
Newer Technologies for communication keep coming. Pirates usually rely on the strength of ‘technology’ while the Anti-Piracy group relies on ‘legal means’.  Each time, the mirage of having caught up appears, the gap distances itself in the next round.

 

The man who never cried – Yarukaga Azhuthan..

How would a man who has transcended the expressions of normal human emotion, given up or never shown interest in normal human indulgences and has lived his life entirely around the motto ‘Work and Prayer’ react when he is accused of theft?

The short story revolves around Joseph (Joseppu), an illiterate lower middle class man, who works in a cheap hotel which is struggling to stay afloat. Understandably, the hotel has compromised on its morality and provides accomodation to gamblers, prostitutes and people of questionable activities.

Joseph’s peers are those like him, who live a ‘hand-to-mouth’ existence, but they exhibit normal behavioural patterns of a commoner. They socialize, smoke, drink and even go to the cinema. When their legitimate needs are not met, they bolt. Most of them do not mingle with Joseph. He is a ‘loner’, a different guy, a ‘stupid’ idiot. They even abuse him.

Joseph’s only friend is the cook – Naidu, a man past his prime, possibly in his 60s, who does not mingle with the others and travels ‘once-a-week’ to meet his family. A boss, struggling to keep his hotel afloat and who believes everyone of his workers should be like Joseph, but alas, only if wishes would come true. A drunken Seth with loads of money, who loses his money in the hotel. A gambler, who rents the room, and brings in unsocial characters from the dark and vicious sides of society. A prostitute who can have a soft heart towards a human being, and display sympathy.

The author D.Jayakanthan has given immense character-description to each one of them, to what would have been a perfect script for a ‘few-acts-stage play’.

This is not a thriller story. Right from the beginning, we know who the thief is. It is this knowledge that helps us appreciate the emotions of the thief, as well. Feelings of guilt, fear and the need to ‘go-the-distance’ having taken an incorrect path weigh on the thief.

Was the thief eventually found or did Joseph’s emotions betray him?

This story was made into a film with the same name. Like its predecessor ‘Unnai Pol Oruvan’, this script too would have fit into the ‘neo-realistic’ mould perfectly, a trend which was started by JayaKanthan. When this film was made, few film makers would have dared to venture into such territory. It would be close to another decade, before such films would start coming out. Film Historian Theodore Baskaran rates this performance as one of the best of Actor-Comedian Nagesh, in the role of ‘Joseppu’.

The film has been preserved in the NFAI. It has been shown several times on ‘Jaya Movie’ channel, and i hope i will be lucky enough to see this film, one day.

 

 

Vishal’s Interview with Sreedhar Pillai

For the past couple of years, Actor Vishal has been one of the few celebrities who have openly voiced dissent against the act of Piracy, right from attempting surprise raids on Bazaars, Cable Networks and even Buses. Naturally, it was expected that he would have something spicy for his upcoming film.

A very interesting interview given by Actor Vishal to Film Critic Sridhar Pillai. Pillai has been quite crisp on his questions ranging from the Nadigar Sangam issues, Piracy, Actor Salaries, controversies and Vishal has been open and the clarity of his answers to the questions need to be appreciated. Here are my two pence on having seen the interview, above.

It is 23rd December today and the movie ‘Katthi Sandai’ has released today. Vishal has been quite vocal for some time on the issue of Piracy and as expected, he seems to be speaking of some kind of magic portion, which he believes will have some sort of impact. My gut feeling is that Maybe, by tomorrow or day after, a pirated print will emerge. It will be interesting to see what Vishal may have to say tomorrow. Vishal raises the problem of ‘small budget films’ and producers. Ironically, by releasing the film in so many screens provides so much pressure to ‘small budgets’ that have got a release already and creates difficulty in finding theatres for small budget films.

Vishal says that addressing the problem of Piracy at its ‘root’ would mean taking action as fast as possible. I think the root of the problem is public apathy’ to the problem from the industries perspective and ‘content demand’ from the perspective of the public. I think Vishal can do nothing against this. He also raises the issue of lack of action against a theatre, which is alleged to have leaked a film print. I have expressed my views here.

Pattina Pravesam – A Tribute Post to both K.B and M.S.V..

K.Balachander is not called ‘Iyakkunar Sigaram’ for nothing. Not only will his legacy speak about being one of few Directors to make 100 movies or his ability to hand pick and introduce severeal stars that later shone bright in Tamil cinema, it is also the versatility of his movies, that make him the most special in my case.

Most successful Directors have some sort of a stigma attached with them.. Most of them understood and made movies to their strengths. BharathiRaja excelled in Village Stories, Sridhar in Triangular Love Stories, ManiRathnam In Young Urban Stories etc.. Off course, these directors have experimented too.. But K.B for me, is on a totally different scale altogether.

It is also at this point, that i regretfully look at a few Directors of this generation. Even the promising ones in a couple of movies end up making so called ‘Mass’ movies, and even those that look promising and don’t fall prey to the former, start showing signs of ‘stale bread’ by their fourth or fifth movies..

Today, in my personal view amongst the young directors who have wielded the megaphone for atleast a handful of movies, I see no one except Bala, SelvaRaghavan and Vasantha Balan that creates an urge in me to go and visit a theatre.

Amongst K.B’s films, this film is relatively very simple, both in terms of content and presentation. It is a straight forward story, but even in this story, K.B had the guts to present things which were way ahead of their time.. Thankfully, the political guardians of Tamil cinema did not have that much clout back then.


Cast :Murugan(Delhi Ganesh) , Saravanan (Jai Ganesh) , Kumaran (Siva Sankaran) , Dhandapani , and sister Thangam.

Uma : Kumaran’s lover ; Aachi ; Uma’s father ; Mama ( SamiKannu) ;

Pattina Pravesam tells the story of a naive and innocent family that moves from a village ‘KariMangalam’ to the City in the hope of a better life. The Family consists of 4 brothers, a mother and the last – a younger sister.

An Entire Family From 'KariMangalam' Village has come to Chennai Pattanam in the hope of a better future.

An Entire Family From ‘KariMangalam’ Village has come to Chennai Pattanam in the hope of a better future.

Kumaran's brothers look out for auspicious signs to send their brother on his first job.

Kumaran’s brothers look out for auspicious signs to send their brother on his first job.

The entire family has sold off all their belongings in the village and come to the City in the hope of a better living, trusting a person who is living in the city. The family is surprised to see a huge high rise flat of 11 floors. Murugan, the eldest brother goes to the house and is shocked to find that the man who they have come searching for has left the place. Not wanting to hurt the rest of the family, he takes them to a temporary shelter under a Railway bridge and goes looking for a rental house.
He finally finds Uma, who is working in a Rental agency. When Uma comes to know the innocence of Murugan, his ability to afford only Rs.25 a month and that his entire family is on the road, she offers to get him a house, far off in Pazhavanthangal. Murugan agrees and the family moves in.
Kumaran starts going to work. The entire family is dependent on him, as he is the only person to have atleast a basic education. Murugan and Saravanan start a shop, but in the rural area, no one visits the shop. Business is dull. This leads to a temporary fight between Saravanan and Murugan and Saravanan insists that they move the shop to a better portion of the city. He fights with his brother, gets Rs.2500 out of their meagre savings and pays it to a man who has a shop on the platform. The shop being illegal, was served a notice 15 days ago by the Corporation for evacuation. Saravanan without knowing this is fooled. Soon, the shop which he purchased for Rs.2500 is razed by the Corporartion, leaving Saravanan filled with guilt.
Murugan tells Saravanan not to worry, as Kumaran will take the family on his shoulders. Both the elder brothers staunchly refuse to send the younger sister to work. In the mean while, a gentle romance blossoms between Kumaran and Uma. Their parents come to Murugan’s house for the engagement. In the excitement of rushing home, Kumaran, fails to see the coming train and is met with an accident. In the middle of the engagement, the family rushes to save Kumaran. In order to save Kumaran, all assets including the shop are sold off.
All the assets of the house are sold off, to save Saravanan's life.

All the assets of the house are sold off, to save Saravanan’s life.

Kumaran returns home alive, but is brain dead. He can only breathe but cannot respond. The family is shocked as their whole hope rested on him. With not much left, Uma is sent off to Work. There are changes in her life style. Earlier, Uma who was refused powder by her Brothers is now allowed to apply some. The whole family is now entirely dependent on Uma’s income.
Saravanan tries to make a honest living by applying Boot Polish, but the Pattanam won't let anyone live a honest life.

Saravanan tries to make a honest living by applying Boot Polish, but the Pattanam won’t let anyone live a honest life.

One day in a moment of haste, Murugan’s mother ( Aachi) takes a satirical dig at her two elder sons of living off their younger sister. Both Murugan and Saravanan leave. But they find no work. Murugan ends up forging a few thumb seals ( Kai Naatu) to the maestri, and gets more money than he is entitled to. Saravanan ends up meeting the sexual needs of a starving woman. Both of them are paid Rs.60 for their work. Kumaran continues to remain ill. Uma is disappointed.
Uma confides a secret to the brother, that won't talk back.

Uma confides a secret to the brother, that won’t talk back.

Mama comes to the city. His son is engaged to Thangam. Initially, he is enthusiastic about Thangam going to work, but one day, when she is dropped home by a stranger (Sharath Babu) , whom Uma has recently be-friended, Mama gets upset. He abuses the elder sons of living of their sister’s income. But when Thangam is accused of a sexual liasion with this stranger, Mama is sent out of the house. Mama leaves angry, and promises that the next time, only his son’s wedding invitation ( with some other girl) will reach their house.
As time goes on, The innocent and ethical people of the village are forced to compromise on their morals, in order to survive. Aachi comes to know the activities of Murugan and Saravanan. Dhandapani, the nincompoop, finds a job as a smuggler.
The stranger offers a compensation to the brothers for getting their sister Uma, pregnant.

The stranger offers a compensation to the brothers for getting their sister Uma, pregnant.

As the brothers raise their hands to beat their sister, they are stopped by their mother's words.

As the brothers raise their hands to beat their sister, they are stopped by their mother’s words.

Uma is exploited by the stranger ( Sharath Babu) and turns pregnant. Her foetus is aborted, and the man offers compensation to the Brothers, but says he cannot marry their sister. Uma comes home, after a couple of days in the hospital. When the angry brothers start beating their sister, their mother throws a knife at them, and ask them to kill her instead, but only if you are innocent and have not committed any sins. Both Murugan and Saravanan retreat out of guilt. The mother then drags Uma to the pooja room, and then says a few prayers and ( possibly) forgives her daughter.. [CLIMAX FOOTAGE MISSING]..

Torn between the Devil and the Deep Sea – Tamil Movies made during the Second World War ..

When one expresses an opinion about a Lost Film, opinions are bound to be sometimes incorrect, because our opinions are based on secondary sources, who we believe have seen the film and have expressed their views. So, in a sense, we only echo their views. A debate arises only, when two different people have written different versions about the same movie.

But, from my limited understanding, I find some similarities and I write this post.


Indian Movie makers faced an inevitable dilemma, during the period of the Second World War. (1939-1945). This was a critical period, considering that India was almost on the verge of her independence from Great Britain. Nationalism was on the rise, and like millions of Indians, many Tamil Film Makers too were influenced by the Civil DisObedience Movement and were affiliated to Mahatma Gandhi’s principles, and by that logic – the Grand Old Party of India – the Congress.

But as much, as Millions of Indians hated the British from a Nationalist perspective, they were forced to take a contradicting stance, in the Global Conflict – the war that Great Britain and her allies ( India included) were fighting against the Axis powers ( headed by Hitler’s Germany , HiroHito’s Japan and Mussolini’s Italy, Romania et al).. In this context, the Congress Party had decided to support Great Britain in her global war, much to the chagrin of ‘Fire Brand’ leaders like Subhash Chandra Bose, who had his own army – ‘The Indian National Army’, which had its allegiance to the Axis Powers, and even fought in the North African Campaign under the legendary Desert Fox – Erwin Rommel, against the British.

With War looming large, and essential commodities coming under short supply, it was inevitable that raw film stock would also come under the same principles of ration. Much of Joseph Goebbels and Leni Riefenstahl ( Riefenstahl was one of the few women to have acquired such a strong position of power in what was totally a male dominant society in the Third Reich. Leni Riefenstahl was also responsible for making the movie – Triumph De Villens, which is even today rated as one of the greatest films of all time) , the then Propaganda Minister of Germany who made extensive use of Film as a medium of mass communication. The Allies today adopted similar approaches. Frank Capra, a leading American Film Director was chosen to make a series of Propaganda Films, supporting the war effort – titled – ‘Why We Fight?”

The British Government had commissioned that atleast one movie out of every three should support the war effort. So, one hand, the Movie makers had to appease the British Government, on a global front to keep their industry running, yet on the other hand they had to oppose them locally, on a Nationalistic Front. So, sometimes, such content had to be subtly embedded.

Based on the Frank Capra series, Theodore Baskaran writes that Director K.Subhramanyam made a Documentary – ‘Madras Will Not Burn’. ( Lost Film), yet it was K.Subhramanyam who made possibly the greatest, if not one of the greatest Nationalist Movies of all Time – Thyaga Bhoomi. K.Subhramanyam also made ‘MaanaSamrakshanam’ in the year 1944. Again, this too appears to be a lost film. I asked Film News Anandan to tell me a bit about this film. He told me that the movie did not have any star value, and did not do too well. He also said that the movie was made to appease the Congress ( Did he mean the British? I couldn’t press him too much, due to his age.)

T.R.Sundaram of Modern Theatres Limited made Burma Rani, a movie that is said to support the war effort. Even this movie has been lost. Yet, in a comedy movie – Diwan Bhagadur (1943) starring T.R.Ramachandran, and which on the face of it has nothing to do with Nationalism, Nationalism mesages are subtly embedded into the plot. They manifest themselves, especially during the later part of the movie, when Kesava Mudaliar ( T.R.Ramachandran) goes on his election campaign, spelling out fiery speeches against social evils. ( It is here that the Nationalist Messages are Embedded)..

Also, you can see subtle Messages like ‘Free India’ and ‘Thaai Naadu’, during the wedding of Kesava Mudaliar and Kamala (Diwan Bhagadur’s daughter)..

Nationlist Messages like 'Free India' and 'Thaai Naadu' subtly embedded into the scene of a Social Satire ( Comedy Movie) - Diwan Bhagadur (1943) made by Modern Theatres

Nationlist Messages like ‘Free India’ and ‘Thaai Naadu’ subtly embedded into the scene of a Social Satire ( Comedy Movie) – Diwan Bhagadur (1943) made by Modern Theatres

SubaThinam – Hard Hitting Film on a Taboo-ish Subject..

What are man’s primary needs? Food, Shelter, Clothing? Everything else is secondary. That is what, is taught to us in school, right? But isn’t the objective of nature for every individual, man, plant or animal to pro-create and take their species forward? And for that to happen, nature has designed individuals of opposite sexes to be naturally attracted to each other, indulge in sexual pleasure to satisfy their urges, and at the same time, sow the seeds for the next generation?
In a cultured society, a man or a woman can steal if they are hungry. Remember the classic verse ‘Thani Oru Manithanukku Unavu Illai enil, Jagathinai Alithidu’.. There have been several movies based on the social inequalities of people who lack food, clothing or shelter ( Veedu) .. But what about sex?
During my 9th standard, I remember my Biology teacher defining marriage – ‘Marriage is a license given by society to a couple to indulge in consensual sexual activities, bear and raise their children responsibly, so that their species continues to survive.’ ( Or something in similar terms..) But is sex not an activity that people would prefer doing within 4 walls? Is it not a basically private activity?
The previliged ones, have the privacy of 4 walls that cover their bedroom. But what about the underpreviiged? There are very few movies that tackle this issue. Recently, a movie that starred ‘Prabhu Ganesan and Abirami in the lead roles reflected on this issue ( Middle Class Madhavan). The movie was heavily dramatised. There is another instance in the form of a dialogue, in the movie ‘Aarulirundhu Arupathu Varai’, when Rajini and FataFat JayaLakshmi have lost all their wealth, including their house. Rajini has been betrayed by his siblings, and he along with his wife and his young baby are now living off a one bedroom hut, possibly in a slum area. One fine day, the child is sleeping on the Thottil, and Rajini is rocking it slowly, when his wife Fatafat asks him, how would they find privacy, when the child grows up? In his imitable style, Rajini answers saying, that he would ask the neighbour ( pakkathu veetukkaran) how he manages this problem, and we can follow the same. The tone is funny, but it reflects some bitter truths.
Subathinam too takes on this heavy topic. The movie, does avoid most of the gross over dramatization and heavy monologues of the 60s and is subtly made. Each character is well etched. It was made by a new Director Shrikanth. When i asked Film News Anandan, who this director was, he told me that it was a Telugu Director, an assistant of the legendary L.V.Prasad.

Movie Summary:
The movie is a close to reality based on the difficulties faced by the urban poor who struggled to find accomadation in the larger cities, where they came looking for a better life, and either ended up in cramped one bed room houses, poorly lit chawls or lived their life off the footpaths of the city. It also tries to expose some of the practical realities and the struggles faced by some of these people who are forced to be deprived of what we consider normal human necessities. The movie also tackled a problem of a ‘taboo-ish’ nature, the lack of privacy for a married couple, to have normal conjugal relations in accomadations that could not offer them the normal privacy of 4 closed walls.
Raja Badar (Nagesh) is a happy go lucky Rickshaw hand-puller ( He pulls the rickshaw himself, instead of horse driven tongas.) One day, he meets Iyer Saami ( Nambiar) and his wife Gayathri with their brood of half a dozen children. They have decided to move to a new accomadation and have packed up their house hold items, only to be shocked to see that for some reasons, the new house, which they were supposed to move, is not available to them. With not much left, Raja Badar takes them to a place, where millions of people like him, live. He takes them to a small locality, and asks its current owner ( a bachelor) to vacate it, for the sake this large family. Although initially hesitant, Iyer Saami and his wife settle in their new home. Soon, they become a part of the community that lives there including Raja Badar, his lover, Vadivu and his Thatha.
One day, RajaBadar meets a village girl, who has come looking for her husband. Her husband had promised to pick up, but hasn’t turned up for over 5 years. RajaBadar searches for her husband, but without any luck, brings the girl home to Iyer Saami and his wife, who promise to look after her, until her husband is found. Raja Badar’s best friend is NeelaKandan. Neelakandan (MuthuRaman) and His lover Saroja, who works as a nurse decide to get married. He marries Saroja, but on the eve of their wedding night, Neelakandan’s old Mama ( V.K.Ramaswamy) and his wife Swarnam turn up, uninvited at their house. They have no children and had brought Neelakandan up. Without any common sense, they accomadate themselves, in the single bedroom, where NeelaKandan and his newly wed wife, Saroja were supposed to be spending their wedding night. With little option left, Neelakandan curses his stupid Mama and Athai and leaves to Iyer Saami’s house.
On the very same day, RajaBadar gets married to his lover Vadivu. On seeing the earning ( yekkam) face of the poor girl, whom he brought home to Iyer Saami, RajaBadar feels bad. He walks out of the small wedding night celebrations made by his wife. He promises to be celibate, until he finds the girl, her husband.
As months roll by, NeelaKandan and his wife Saroja find no privacy at all. The Mama and Athai continue to stay in their one bed room house. A desperate husband and wife try to go find places of privacy like a Train and a Hotel Room, but their bad luck continues and for some reason or the other, their marriage remains unconsumated.
NeelaKandan has introduced RajaBadar to his friend, Vijay in the past, a man with a notorious reputation of being a womanizer. Co-incidentally, he turns out to be the husband who abandoned the poor girl. He initially refuses to accept the girl, but eventually, comes through. As a starkling irony, NeelaKantan’s Athai, a much older women gets pregnant, a fact that a much older couple had no common sense to respect the privacy of the youngsters.
Nagesh, as a firebrand characters holds the movie on his shoulders. He is ably supported by the wise Iyer Saami, played by M.N.Nambiar. While, I have seen characters depicted as Horse Tonga Drivers ( SuruliRajan in Oli Pirandhadhu) and Cycle Rickshaw Pullers ( Delhi Ganesh in Pasi), this is the first instance, that i see of a hand Rickshaw puller. I have never seen such a thing in my life, although I have heard that such people earn their living in and around Calcutta. It is possible that such a profession existed in Madras in pre 1960s. Although, MuthuRaman is technically, the hero of the film, Thankfully, the movie director has tried to avoid to provide hero worship and has touched upon a topic hardly spoken in Tamil Cinema.

Snapshots:
RajaBhadar brings home the orphan girl who has come to the city looking for her husband.

RajaBhadar brings home the orphan girl who has come to the city looking for her husband.

NeelaKandan's senseless Mama and his Athai (Swarnam) splurge themselves on the Wedding Night Milk Meant for NeelaMegham and his wife. Saro.

NeelaKandan’s senseless Mama and his Athai (Swarnam) splurge themselves on the Wedding Night Milk Meant for NeelaMegham and his wife. Saro.

NeelaMegham and his Wife Saro are shocked to see their Mama and Athai senselessly making themselves comfortable, on the eve of their wedding night.

NeelaMegham and his Wife Saro are shocked to see their Mama and Athai senselessly making themselves comfortable, on the eve of their wedding night.

Vijayan is confronted by RajaBadhar and Iyer Saami.

Vijayan is confronted by RajaBadhar and Iyer Saami.

Nagesh impresses as the 'FireBrand' character RajaBhadar.

Nagesh impresses as the ‘FireBrand’ character RajaBhadar.

Vijay and his wife are united towards the end.

Vijay and his wife are united towards the end.