Deep Inside The Thorns

Before the haze of my thoughts cloud your minds, let me take a moment to wish you all a Happy Valentine’s Day! My blog has been forced into an arranged marriage, and has later found some amazing love with Kavya Menon’s blog in the beautiful differences and the complementing characteristics that our blogs cherish… for this V-Day’s D-Day, and for the many to come!

Valentine’s Day – the very utterance of this word evokes a rosy picture in everyone’e head! Thanks to Director Kathir’s films and a host of songs, Valentine’s day has been reduced (or rather, blown up) to giving roses and teddy bears, fancy candle-lit dinners, essentially taking out someone on a date, and a ton of memes, sometimes with rated content, that speaks about the blisses and woes of being single and being committed… and not to mention the so-called ‘culture-guardians’ who… well, I’ll leave that to your knowledge!

If the greatest and the most global celebration of love has such a commercial connotation, it can’t be helped that the commercial elements have trickled down a bit to the very emotion of ‘love’ itself! Love’s intensity, I think, should be measured (if at all it needs to be, which, I think, is unnecessary!) as what you do for your loved one in comparison to what you would do you for yourself. However, it’s been defined to be compared to how well you fare against others in a materialistic race!

This brings us to two diverging-and-disturbing truths: Self-love has found its territorial borders being violated by self-centeredness and narcissism. Sustainability has met with its flurry of criticisms, and so has the idea of sustainability being a threat to commercialism. Well… if the recent Tamil Cinema, and marginally, the latest protests have enlightened us that there might be a commercial angle to every emotional move, then it calls for some introspection.. maybe not!!

Everybody is either Martin Luther King or Dom Cobb when it comes to dreams – we dream with an aspiration to make it real. It doesn’t matter if it comes within the scope of today’s reality, and we still dream, just like a child!

There is a point when the fears of the dark present, and the aspirations for a bright future begin their unfulfilled-yet-undying romance – the dream of hope! And as my blog-mate concluded, it might be a child’s dream… but a few dreams do happen, however far-fetched they may be! And are we all not children somewhere… to dream without limits!? To Dream of an ideal love!?

This post is written for the ‘love theme’ contest by The Chennai Bloggers Club (www.chennaibloggers.in) in association with woodooz (http://www.woodooz.com/) and Indian Superheroes (http://indiansuperheroes.com/)

 

The Phenomenon called KV Anand

Though I’m not much of a movie-buff, I watch the very few movies I watch with an intensity that I might end up marrying the movie. I love giving attention to tiny details, the subtle elements of screenplay, the significance of placements of certain dialogues, and every element in the frame that will make it more meaningful!

(And this has made me a very very bad person for movie-dates – 86% because of the movie and the rest 14% because of the butter popcorn)

In all these days of watching many movies, I’ve seen things that stand out in terms of screenplay, inclusion of the subtle elements that make the movie more meaningful and give some informed viewers an inexplicable sense of satisfaction.

One such film-maker who stands out when it comes to this particular aspect is KV Anand. I do not know what to attribute his penchant for detail to – his science-background, or his stint as a photographer-cinematographer, or his plain genius.

Maybe my thing for photography, physics and world-history has caught my eye:

  1. In the song ‘Rettai Kadhire’ of Maatraan, there is a family photo that’s clicked. For any director who wants to show a photo clicked in the late ’80s, Kodak or Konica would have been the obvious choice. But KV Anand chose to show Zenit, which is a proper Russki brand.
  2. In Ko, when Jiiva adjust the camera’s settings, he bumps up the ISO to 6400, which enables the photographer shoot in low light, albeit with grains. It gives a more believable reason for the pics to have been shot in the dark.
  3. In Kanaa Kanden, Srikanth covers his paper in white phosphorous and soaks it in water, and when Prithviraj takes it out, it starts to light up. It’s surely a nice way to deceive someone, as white phosphorous catches fire if it contacts oxygen.

I can go on and on about the importance that KV Anand gives to accuracy (though there are some insane slip-offs like Jiiva riding his FZ-S on the front wheels to get the elevation for photographing the Naxals!). I hope his film-making with his thing for accuracy, and reintroducing old heroes as suave villains, and considers ditching Harris Jeyaraj who makes just one song memorable per movie!!