Inadvertently I ended up watching movies thru the day that were triangle love stories in a marriage (let's talk affairs baby :-))- Pallavi Anu Pallavi, Heroine, Sindubhairavi. I wanted to call it a halt to check if I could catch any movie at the theatre. And guess what was playing?? Pati, Patni aur Woh. :-) I watched the trailer and decided to stay away.
I thought I should stay away from my space here- from writing the most controversial post of my life. But well hell... I decided I should anyway write it off.
So as the cosmic joke played out today on the TV- one after the other, I couldnt but relate to the "woh". In a bizarre way, I stepped into those shoes of each character.
And in all of this I wondered why the moral yard stick was put against a woman. And wondered why not the man? Why not.. Why not? Why was it so easy to haul up the woman? The answer to that my dear Watson is because men can be indifferent morons who will never answer that unasked question. The wife will never have clarity and hence will channel her spite to the third person in the equation.
I paused in all of this to think hard. What really happens to the "woh" in the end? In life, I mean... Look at Rekha in Silsila. Look at Suhasini in Sindubhairavi. Look at Kalki in Kalki... I mean I have huge amounts of respect for the content directed by KB, Mani etc. I really do. But I do sometimes feel that the treatment of all of these subjects have been very incomplete and not so thoughtful.
Like compare the treatment of subject between Sati leela Vati and Marupadiyum. Balu Mahendra treats both these movies in a very different way but the premise is the same. Former takes a more traditional approach to "solve" the problem while the the latter is perhaps a far more realistic approach to what happens "after".
There's something in Woh. Truly. Something that's very different. Vibrant energies. More life. More courage. Less baggage.
Just that I dont think the "Woh" will have any factors by the company they "keep". The man. :-) I guess they all choose their families and wives on a day it matters. If you look at all these movies, you will find a sudden new found respect for their spouses in the middle of their torrid affairs. There's a certain sense of respect that the wives usually get that somehow is lacking in the Woh. Like I was seeing this scene with Sumithra Vs Jayachitra with Vijay Kumar in the movie Agni Natchathiram. One of them has his respect, social standing, love, son, family everything. The other holds his love but that's it. Like there's not the same attention that his spouse and his family gets from him. His "illegal" son sees that thru out and that's what the conflict is all about.
I keep seeing this fantastic scene in Iruvar that's by far directed in a most poetic way by Mani R. The scene where Tabu and Prakash Raj are making love and there's powerful poetry "Unnodu naan irundaan" in the back ground. They are staring at the ceiling and the camera keeps going around. Tabu asks Prakash Raj to define who she is. His answer is poetic but doesnt really answer her question. And that's again fab poetry. But. But the point is those extremely intimate moments are all that relationship will ever hold. And she is aware of that choice.
I feel for these characters. There's something very suppressive about all of them that is waiting to blast, but just doesnt happen. I wonder if there's ever going to be a script that'll get them to express. Any movie that I missed in this genre that has such a script??? Recos please?
I thought I should stay away from my space here- from writing the most controversial post of my life. But well hell... I decided I should anyway write it off.
So as the cosmic joke played out today on the TV- one after the other, I couldnt but relate to the "woh". In a bizarre way, I stepped into those shoes of each character.
And in all of this I wondered why the moral yard stick was put against a woman. And wondered why not the man? Why not.. Why not? Why was it so easy to haul up the woman? The answer to that my dear Watson is because men can be indifferent morons who will never answer that unasked question. The wife will never have clarity and hence will channel her spite to the third person in the equation.
I paused in all of this to think hard. What really happens to the "woh" in the end? In life, I mean... Look at Rekha in Silsila. Look at Suhasini in Sindubhairavi. Look at Kalki in Kalki... I mean I have huge amounts of respect for the content directed by KB, Mani etc. I really do. But I do sometimes feel that the treatment of all of these subjects have been very incomplete and not so thoughtful.
Like compare the treatment of subject between Sati leela Vati and Marupadiyum. Balu Mahendra treats both these movies in a very different way but the premise is the same. Former takes a more traditional approach to "solve" the problem while the the latter is perhaps a far more realistic approach to what happens "after".
There's something in Woh. Truly. Something that's very different. Vibrant energies. More life. More courage. Less baggage.
Just that I dont think the "Woh" will have any factors by the company they "keep". The man. :-) I guess they all choose their families and wives on a day it matters. If you look at all these movies, you will find a sudden new found respect for their spouses in the middle of their torrid affairs. There's a certain sense of respect that the wives usually get that somehow is lacking in the Woh. Like I was seeing this scene with Sumithra Vs Jayachitra with Vijay Kumar in the movie Agni Natchathiram. One of them has his respect, social standing, love, son, family everything. The other holds his love but that's it. Like there's not the same attention that his spouse and his family gets from him. His "illegal" son sees that thru out and that's what the conflict is all about.
I keep seeing this fantastic scene in Iruvar that's by far directed in a most poetic way by Mani R. The scene where Tabu and Prakash Raj are making love and there's powerful poetry "Unnodu naan irundaan" in the back ground. They are staring at the ceiling and the camera keeps going around. Tabu asks Prakash Raj to define who she is. His answer is poetic but doesnt really answer her question. And that's again fab poetry. But. But the point is those extremely intimate moments are all that relationship will ever hold. And she is aware of that choice.
I feel for these characters. There's something very suppressive about all of them that is waiting to blast, but just doesnt happen. I wonder if there's ever going to be a script that'll get them to express. Any movie that I missed in this genre that has such a script??? Recos please?
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