Tag Archives: Arvind Swamy

Bombay

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Bombay is the second of Mani Ratnam’s ‘terrorist trilogy’, and is the one that I find the most disturbing. I remember the news reports from the real-life events that happened in Bombay in 1992 which are recreated here in authentic detail, and I find the violence here more confronting and realistic, despite a rather romanticised ending. In Bombay, Mani Ratnam juxtaposes a ‘forbidden’ romance between a Hindu man and a Muslim woman with the Bombay riots to create a compelling and disturbing look at the religious divide in India. The film shows how prejudice can drive extreme acts of hatred but also includes the counter ideals of selflessness and acceptance with an almost fairy-tale spin on good and evil. It’s another stunning film from Mani Ratnam that still makes an impact to-day and along with A.R. Rahman’s soundtrack deserves all the awards and recognition that it has achieved over the years since its 1995 release.

The story starts with Shekhar (Arvind Swami) returning home to visit his family in a river-side village in Tamil Nadu. Just as Shekhar arrives he sees Shaila Banu (Manisha Koirala) and instantly he falls in love. Luckily the attraction is mutual and despite their different religions, a romance begins to grow between the two. Shekhar has been studying journalism in Bombay, which gives him a city sophistication and an intolerance for his father’s prejudiced views. Narayanan Pillai (Nassar) is a devout Hindu whose worst fear seems to be that his son will marry a bride from the North of India, since he is unable to imagine the horror of a daughter-in-law from a different religion. Shaila’s family is just as appalled by the thought of Shekhar and her father Basheer (Kitty) quickly arranges a marriage for his wayward daughter when he finds out about the affair. The clandestine nature of the romance allows for some beautiful camera work from Rajiv Menon and we also get the beautiful Kannalanae as Shaila spots Shekhar at a wedding.

I’ve read that Mani Ratnam wanted these scenes to be beautiful as a contrast to events in the second half, and I find it interesting that his idea of beauty is in the wind and rain that are a constant presence in the village. For me, accustomed to the weather in Ireland, I’d thought that this was supposed to represent the cold attitude of the two families to the romance until I read Baradwaj Rangan’s interview with Mani Ratnam. In Ireland, wind and rain is always cold and miserable, but since visiting Tamil Nadu I can appreciate why gusts of wind and showers of rain would be beautiful in a hot and often dry landscape. Despite knowing this, I still feel chilled when I see the wind whipping Shaila’s veil and skirt around, while the crashing waves and constant rain strike me as cold and gloomy even though I can appreciate the beauty of the landscape.

At the same time, coming from Northern Ireland, where it was just as taboo for a Catholic and a Protestant to start a relationship, I can really relate to the problem faced by Shekhar and Shaila; another reason why I find this film so confronting. The attitudes and expectations of society resonate closely to my own experiences growing up surrounded by religious intolerance and I am always thankful that my own family had a more progressive attitude. It does mean that I can understand their predicament here, and to some extent why their families are so worried as well. Beyond their own antipathy to the relationship there is the worry that society will condemn both Shaila and Shekhar, leading to ostracism and a continual risk to their safety.

With their families at loggerheads, Shekhar and Shaila elope to Bombay. They quickly get married and before long have two twin boys Kabir Narayan (Master Harsha) and Kamal Basheer (Master Hriday). The boys are named for their respective grandfathers but are brought up in both religions, while Shekhar and Shaila are easily accepted in their neighbourhood despite their ‘mixed’ marriage. But when the Babri Masjid is demolished and riots break out across Bombay, the boys are lost in the city alone. They are caught by a gang of men who terrorise the children, pouring petrol over them and starting to set them alight in a shocking scene full of religious intolerance and hatred. These are two young boys with no idea what religion is, let alone the differences between Hindus and Muslims, and with their brutalisation, Mani Ratnam exposes the full horror of the riots and the absolute inhumanity of the rioters.

While relations between the communities in Bombay are breaking down, Narayanan and Basheer have gradually turned their enmity into a guarded tolerance, so when both travel to Bombay in the wake of the December riots, they are able to live with Shekhar and Shaila without too much trouble. As the violence continues in the city, their relationship continues to improve as they realise the extremism and intolerance doesn’t reflect either of their own beliefs.

Some of the most powerful scenes here show Shekhar interviewing the religious and political leaders and asking them when the riots will stop, but no-one seems able or even willing to try and bring peace. As riots again grip the city and neighbourhoods are set on fire, the family is torn apart once more with Shekhar and Shaila left to tour the hospitals and mortuaries in their search for Kabir and Kamal. Meanwhile the boys find kindness from unlikely places as Bombay slowly begins to return to normal.

The film has graphic scenes of the violence and does not spare the audience any of the horror associated with the riots and the aftermath. The scene of bodies in the morgue is particularly bleak, even though Mani Ratnam doesn’t explicitly show grieving families – he doesn’t need to. The anguish and despair come through clearly as Shekhar staggers through room after room of bodies, men women and children, Hindu and Muslim, all mixed together, in a terrible reminder that this is the real cost of the riots. Although some of the scenes here do feel rather contrived, such as when Shekhar confronts two of his friends who are fighting on opposite sides, many more appear authentic, painting a picture of neighbour against neighbour with the main casualties being the innocent bystanders. When the police enter the picture (including Prakash Raj as Inspector Kumar) the level of violence seems to jump yet again, and the images of Kabir and Kamal hiding from the authorities are powerful reminders of the political aspects to these events.

The romance is beautifully told with plenty of symbolism in the images of sheets of rain separating Shekhar from his family, and Shaila losing her abaya as she runs towards Shekhar and freedom. The second half is brutally realistic but still has beautiful scenes of the family together and the developing relationship between Narayanan and Basheer. Rajiv Menon’s cinematography is excellent and A.R. Rahman’s soundtrack perfectly complements the visuals while Raju Sundaram and Prabhu Deva ensure that the dance numbers are equally spectacular.

Arvind Swami is excellent in a role that requires him to switch from a love-struck young man to a desperate and terrified one as he searches the streets for his children. His emotions are clear and easy to read, particularly in the second half when he begins to realise the political manipulations that are behind the riots. His fear and desperation as he searches for his children are frighteningly realistic while his disgust at the politicians, religious leaders and the rioters themselves also comes across well. Manisha Koirala too is wonderful in her role, and brings plenty of emotion to her character at every stage. Although she looks fragile, her character has plenty of determination and a fierce capacity to fight back when necessary. I love her performance here as she conveys so much without words, letting her expression say everything instead. The support cast are all good too, and Nassar and Kitty steal the show whenever they are on screen together. Their initial animosity and then gradual acceptance help to ground the film and stop it becoming too overly emotional as well as providing some mild comedy that also helps to lighten the atmosphere.

Overall, Bombay is a beautifully made film that takes on both a societal issue and a horrific subject to make strong and compelling political and social statements. Mani Ratnam does hammer home the manipulation message rather forcefully, and the final scenes are a little too simplistic, especially after all the drama that has come before, but despite these few issues, the film still delivers a powerful message that continues to resonate, even all these years later. It’s a disturbing film but that’s what makes it such essential viewing. Highly recommended. 4 ½ stars.

Chekka Chivantha Vaanam (2018)

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Chekka Chivantha Vaanam

Mani Ratnam’s latest is a surprisingly conventional crime drama that pits three brothers against each other as they vie to take over their father’s gangster business. Unusually there is little character development for each of the brothers, so it does take some time to become connected to the film and get to grips with exactly who is who (and who is sleeping with who). However, the finale is excellent and does keep you guessing right up until the end, while Vijay Sethupathi, Arvind Swami and Jyothika are all superb throughout.

Prakash Raj plays the ageing gangster Senapathi who survives an attack by two assassins dressed as police officers at the start of the film. His wife Lakshmi (Jayasudha) is also in the car, and it’s interesting that their conversation prior to the attack mentions Sena’s infidelities rather than introducing the family members or focusing on the crime empire. However, it’s not until the end that this and other snippets of information come together to make a satisfying whole and many of the seemingly throwaway statements are much more revealing than they initially seem.

Sena’s three sons all return home as their father and mother are rushed to hospital and it doesn’t take long until they are all at each other’s throats, arguing over who will take their father’s place. The eldest son Varadan (Arvind Swami) complains that Sena treats him as just another henchman, when he feels that he deserves better and has the best claim to inherit his father’s empire. The middle son Thyagu (Arun Vijay) lives in Dubai where he spends most of his time on a yacht discussing real estate projects with wealthy Arab backers. He seems to be more a businessman than a gangster and his stylish dress and polished wife reinforce that impression. The youngest son Ethi (Silambarasan) is a drug and gun runner currently based in Serbia and definitely at the bottom of the pecking order, a fact he seems to accept without too much rancour.

None of these men appear to have what it takes to run a criminal network as they indulge in petty arguments and spiteful digs at each other. Each has their own flaws that seem to disqualify them for the top job. Varadan is the most like his father but he lacks initiative and follows a predictable and well-trodden path as he pursues his father’s attackers. Varadan immediately accuses his father’s rival Chinnappadasan (Thiagarajan) of being behind the attack but it seems to be the easy option and doesn’t require Varadan to be anything other than the thug he has always been. Thyagu is slick and more polished, but despite his cutthroat business skills, he seems to lack the violent mentality needed to maintain control over the motley collection of gangsters so, despite his egotistical belief that he is the obvious choice of heir, he seems unlikely to survive long in Chennai. Ethi is unpredictable and erratic, and doesn’t seem to have the necessary concentration span to be able to successfully run a crime business.

Rasool (Vijay Sethupathi) is Varadan’s childhood friend, and the two have remained close over the years despite Rasool being a police officer. At the start of the film, Rasool is suspended from the police force for an overzealous attack on a student, so he has plenty of time to help out his friend while attempting to get his suspension overturned. As the brothers squabble amongst themselves, Rasool is always there to help keep the peace, just as long as he stays off the alcohol.

Varadan is married to Chitra (Jyothika) who is loyal to her husband despite his affair with TV reporter Parvathi (Aditi Rao Hydari). She’s an incredibly strong character who seems determined to hold the family together through the sheer force of her willpower alone, but when the brothers finally descend into open warfare all her support is with her husband in spite of everything he as done. At one point I was hopeful that Chitra was going to turn out to be the last one standing, but alas that wasn’t to be and she stays true to her character until the bitter end. Thyagu’s wife Renu (Aishwarya Rajesh) is less supportive of her husband, particularly when she ends up in jail after drugs are hidden in their apartment, while Ethi’s shortlived romance with Chaaya (Dayana Erappa) seems to only be included to act as the catalyst for his later suspicions when Chaaya is shot and killed on their honeymoon.

Initially the brothers unit in their search for the men behind the attack on Sena, but after Sena’s death it turns into a free for all as Ethi and Thyagu team up in opposition to Varadan, while accusations fly as to who was the real culprit behind the assassination attempt. Chinnappadasan is also out for blood after the brothers target his family and kill his son-in-law while the police have also vowed not to stand-by and let the gangster take over the city. The death toll rises inexorably as the brothers get closer and closer to finally determining who will take Sena’s place as head kingpin and their various rivals also close in for the kill.

The problem here is that for most of the film the brothers are only lightly sketched and we don’t know why they have chosen to act as they do. The women in their life are even more broadly drawn with just enough detail to know who they are and how they relate to Sena and his sons. There is a daughter as well, but she appears only briefly during the celebration for her new baby and I didn’t even manage to catch her name. This lack of any real motivation for the brothers makes it difficult to relate to their characters and, since none of them are particularly likeable, it’s also hard to decide who to support in their struggle to take over the top spot. Some of the support cast also appear to be completely superfluous, and it’s not until quite late in the story that the reason for the inclusion of, for example, Parvathi or Chaaya, becomes clear. But once the final twist in the tale is revealed, suddenly everything makes more sense, and many of the scenes with Lakshmi, Chitra and the others take on a deeper meaning. As too does the squabble between the brothers, and that ensures Chekka Chivantha Vaanam is a much more intriguing film than it first appears.

A.R. Rahman’s music threads through the screenplay with different themes recurring as the characters come and go, and the songs mostly occur in snippets over pieces of the action. Santosh Sivan is in charge of cinematography and does a very capable job, although what is most interesting is what is not shown except in brief glimpses, almost too fast to catch. In keeping with the twist at the end, the final images of Rasool and the three brothers in a circling jeep at the top of a cliff are the most stunning. The ground is a rich red, while the sky is a vibrant blue and the sea a restless azure, making a vivid contrast between the stark but grandiose scenery and the petty, backstabbing action taking place in the jeep.

This is a film that I want to see again now that I know the ending. I suspect that there are clues scattered along the way although on reflection I can only identify a few, and I know that more will becone clear on a second watch through. I also didn’t catch the music as well as I should as I was concentrating too much on the action. The actors too appear much better on looking back, as the whole point of that lack of characterisation and interaction is only revealed at the end. It’s hard to say much without revealing the final twist but it’s the end that does make Chekka Chivantha Vaanam well worth watching and overall one of Mani Ratnam’s better films, despite the initial slow build.

Roja (1992)

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Roja

Mani Ratnam’s 1992 film Roja is the first of his so-called ‘terrorist-trilogy’; three films with a romance set against a political background of terrorist activity. Here he takes us to Kashmir, where the Tamil-speaking Roja struggles to plead her cause when her husband is kidnapped by Kashmiri separatists. This is a film primarily about the relationship between Roja and her husband but Mani Ratnam adds in a generous and slightly overdone slice of patriotism as well as providing some insight into the situation in Kashmir at the time. Most interestingly while depriving the Tamil-speaking Roja of a voice in Hindi-speaking Kashmir, the film gives the terrorists an opportunity to explain their thinking and the rationale behind their campaign. In addition to the stunning scenery and compelling story, Roja was the first film featuring a soundtrack by A.R. Rahman and it’s still ranks up there as one of his best. No wonder then that Roja won awards both nationally and internationally, and is still considered a classic today.

The opening credits roll over the sound of gunfire, helicopters and conflict, and the film starts with a bang as terrorist Wasim Khan (Shiva Rindani) is captured by the army in Kashmir. But the action quickly moves to a village near Tirunelveli, introducing Roja (Madhubala) in the beautiful song Chinna Chinna Aasai. It’s an effective contrast between the two worlds, and emphasises how easy it is to forget the violence in the north as we get pulled into the lives of the peaceful villagers in Tamil Nadu.

Cryptologist Rishi Kumar (Arvind Swamy) has come to the village with his mother (Sathyapriya) to meet his fiancée Shenbagam (Vaishnavi). He is first spotted by Roja and her younger sister who are favourably impressed with the sophisticated urbanite Rishi, but Shenbagam isn’t as smitten. She’s already in love with a local boy and persuades Rishi to reject the match – after which he tells Shenbagam’s family that he will marry Roja instead. Since Roja doesn’t know anything about her sister’s true feelings, she is horrified and angered by what she sees as a rejection of Shenbagam. It does seem surprising that Roja isn’t aware of her sister’s secret romance since otherwise they seem to have a good relationship, but perhaps Shenbagam is just very good at keeping secrets. She’s definitely champion of getting her own way, as in the end Roja has no say in the matter and she ends up getting married to Rishi.

Mani Ratnam captures the flavour of rural Tamil Nadu by involving the entire village in the vetting of the bridegroom and subsequent betrothal ceremony. No question is too personal and no subject off limits for the gaggle of aunties and uncles interrogating Rishi when he arrives, and to be fair he deals with their questioning well. Later, the gregarious group of aunties act almost like a Greek chorus as they chaperone Shenbagam and Rishi during their ‘private’ conversation and I love that Mani Ratnam involves them in the entire process, even in this song to celebrate the wedding and first night.

After moving to the city, Roja discovers the truth behind Rishi’s change of mind and her initial anger develops into an appreciation of his good qualities. This understanding deepens into romance, so when Rishi is sent to Kashmir for work, Roja insists on accompanying him rather than wait at home. She doesn’t seem to know much about the political situation in Kashmir, which is shown by her naïve questions to Rishi on their arrival. I find this lack of awareness interesting, and I wonder if this regional isolation can still exist to-day in the age of 24/7 news, Smartphones and the internet? I can’t decide if Mani Ratnam is trying to educate the rest of India about the Kashmir situation with these dialogues, or simply to show how much faith and trust Roja has in her husband, to blindly follow him without any idea of where she is going to end up. Probably both!

Once in Kashmir, the relationship between Roja and Rishi continues to bloom. There is excellent chemistry between Arvind Swamy and Madhubala and the developing romance is hot enough to melt the snow. Mani Ratnam cleverly uses teasing interactions between the two to deepen their relationship and show their obvious enjoyment in each other. But just as everything seems to be falling into place, Rishi is abducted by a group of masked men in a minivan. Roja immediately chases after the van, and it’s only when the van is long out of sight that she falls to her knees – even then, it’s more from disbelief at the situation rather than a gesture of despair. Roja is a woman of action and she’s not going to let the terrorists get away with their abduction.

While Rishi is held by the terrorists, Roja is determined to fight for his freedom, but she immediately runs into difficulties as she doesn’t speak or understand the language. As with Divya’s character in Mouna Ragam, she is also isolated by being so far away from home and familiar surroundings, however Roja has something to fight for and a reason to make herself heard. Eventually she is directed to Colonel Rayappa (Nasser) who is in charge of the search and who handily also speaks rudimentary Tamil. While Roja wants her husband home at any cost, Colonel Rayappa is more aware of the political realities of the situation and exactly what the terrorists demands to free Wasim Khan mean. The political discussions here are excellent, with Roja passionately arguing that the army has a duty to her husband as Rayappa tries to make her understand that the government will not willingly release a known murderer.

Meanwhile, Rishi tries to engage the terrorists by drawing their leader Liaqat (Pankaj Kapur) into conversation. Again, the politics of Kashmir are brought into the dialogues as Liaqat explains the separatists fight for freedom and independence, all of which makes little sense to the staunchly patriotic Rishi. Some of Rishi’s decisions seem quite extreme, such as when he demonstrates his patriotism in a situation where he knows it will only lead to a severe beating, or perhaps even death. Although, since he passionately opposes the release of Wasim Khan, perhaps that is actually part of his intention, but it’s not at all clear. Rather, for much of his imprisonment, the politics take second place as Rishi stares out of his barred window thinking about his wife.

Madhubala is outstanding here and her drive to find her husband along with the passion in their relationship come through very clearly. Her transition from rebellious village girl to determined wife is beautifully done, and she manages to show her character’s resilience tempered with despair exceptionally well. Arvind Swamy is just as good, aside from the brief forays into patriotism where the dialogue and actions do seem rather forced. Best of all are his interactions with Liaqat where the dialogues allow an exploration of the politics surrounding separatist violence in Kashmir. This theme is one that Mani Ratnam expands on much more in his later film Dil Se, but the seeds are sown here with at least glimpses of the separatists’ point of view. Liaqat too is a more sympathetic character than might be expected, although he’s marked as a ’bad guy’ by a rather large mole on his nose, which does at least make him easily identifiable when the terrorists are masked.

Roja has a perfect mix of engaging story, stunning scenery and beautiful music that all combine to produce a classic film. The actors are all excellent throughout and bring their characters realistically to life. Madhubala in particular shines as the central character and provides a strong focus to the story, while the mix of romance, action, suspense and politics is well judged to keep that focus clear.

Mani Ratnam always excels when he films relationships, but here he adds a wider viewpoint as the social problems within Kashmir intrude upon Rishi and Roja’s personal life. The juxtaposition of Roja fighting to reunite with her husband with Rishi’s attempts to persuade the terrorists to embrace a united India acts to bring the personal and the social aspects together and there is effective contrast between Roja’s love for Rishi, and Rishi’s patriotic belief in his country. That doesn’t mean that Rishi doesn’t love Roja, but his fight is to turn the terrorists from their course, while Roja is single-minded in her quest to find her husband. A.R. Rahman’s music is the icing on an already rich cake while Santosh Sivan impresses with his excellent camerawork. I love this film and each time I watch I am amazed all over again by the richness and depth of both the story and the dialogues. Simply brilliant! 5 stars.