Treasure Hunt: A collection of my favorite ‘smaller’ scenes from thamizh cinema

Back in the 90s, Sun TV used to host a program where celebrities would pick four or five of their favorite scenes from thamizh cinema.  You had the usual suspects.  The Nizhalgal Ravi funeral scene from Nayagan.  The panchayat scene from Devar Magan.  The throwing of the gauntlet scene in Annamalai.  But as a rabid movie fanatic, I have the tendency to re-watch some of my favorite movies.  Even if not in their entirety, I do revisit portions of a lot of my favorites from time to time on youtube.  And, what strikes me is how some smaller moments seem to just leap off the screen like never before.  I wonder if it has to do with the fact that my mind has subconsciously registered the bigger scenes so much that I seem to have more capacity to notice and cherish the smaller golden moments that have a glitter of their own.  I’ve picked six such little treasures that were hidden in plain sight all along that I noticed on a repeat viewing.  Take a look and see if you enjoy these little moments as much as I did:

A Rajni – Shoba interaction in Mullum Malarum (1978):              

There are certain actors that I think are incapable of being inauthentic in any way.  They are just so wonderfully grounded and real, in terms of looks, in terms of performance.  Shoba – that marvel of an actress that met with a tragic, untimely end – was one such performer.  She was magnificent in every frame that I have seen her in, in classics like Nizhal Nijamagiradhu and Azhiyadha KolangaL.  But the pinnacle of her career was the role of Valli in Mullum Malarum.  Her innocent face, her impish smile and seemingly childlike nature are fully utilized by director Mahendran.  This sequence below is an example of how un-cinematic she was.  It is a cute interaction between brother and sister.  Notice how seamlessly Rajni and Shoba transition from an emotional moment (when Shoba reminds him of their younger days) to a lighter conversation.  Rajni is also marvelously understated and casual.  I especially love the way Rajni says, “Apdiye Valli…andha ponnukum oru kalyanam panni vechudlam!”

Watch from 3:29 min point:

The “chi chi…drama” moment in Michael Madana Kamarajan (1990):

One of the reasons for the enduring appeal of MMKR is that the movie is so densely packed that even on repeated viewings, there is invariably the odd joke that one may have missed in a previous viewing, that would make them smile or even laugh out loud.  One such easter egg that popped out to me when I watched the movie last year was the scene after the fire rescue sequence, where Kushboo gifts Kamal (the Raju character) with a piece of miniature art.  Kushboo and Kamal make this an impossibly cute repartee, with Crazy Mohan’s wordplays (“kalai arisi” for instance) aiding them in full measure.  My favorite moment in this sequence is where Kushboo asks Kamal about his artistic interests.  The educated Kushboo character asks, “Painting?  Sculpture?” and the uneducated, naïve Raju instinctively replies, “Chi chi…drama.”  It is such a spontaneous, hilarious reaction, one that shows that comedy is absolutely serious business, that it takes a lot of detailing – in the way a close up is shot, in the way one actor modulates his delivery, in the way another actor reacts – to make a comic moment work. 

Watch from 24:24 min point:

SPB’s “thank you” in Sigaram (1991):

Sigaram has to rank at the top of the list in thamizh cinema when it comes to sensitive portrayals of a husband-wife relationship.  On screen, SPB has always come across as an affable presence.  And, in Sigaram, the late writer-director Ananthu (a close associate of KB and a mentor of Kamal) makes full use of that persona.  SPB also rises to the occasion, imbues his character (that of a successful music director with a supportive wife and an alcoholic son) with warmth and sincerity.  One of the things I noticed is the respectful, cultured manner in which he interacts with his wife, played by Rekha.  Both SPB and Rekha are in glorious acting form, bringing to life an ageing couple still very much in love but dealing with a tough situation with their son.  There is a small scene where SPB tells Rekha about his upcoming trip to Singapore.  Right from the way he says, “thank you” when she offers a cup of coffee to the way she says that music is his “kavasam,” it is a very lifelike conversation that doesn’t come across as a dialogue written on a sheet of paper.  To borrow one of Baradwaj Rangan’s terms, the “invisibility of the writing” is perfectly demonstrated here.

Watch from 5:36 min point:

The delightfully sweet early morning sequence in Mahanadhi (1994):

Mahanadhi is easily one of the most gut-wrenching cinema experiences that I have ever had.  There are several moments from the movie that flit past my mind from time to time just when I come across as a reference or a song from the movie.  But if you watch the movie closely, there are actually several moments of just pure goodness amidst all the privation and the squalor.  One such sequence is the early morning sequence after Kamal Hasan realizes the error of his ways, in trusting a woman with questionable values.  He returns home late night from a party, only to be welcomed by his mother-in-law, who says that the kids skipped dinner because of him getting delayed.  Be it the way Kamal tenderly hugs his sleepy daughter and asks, “Adi pattudicha?” or the way the brilliant SN Lakshmi advises Kamal (I love the way she joyfully says, “Kaapi kudikreengala?”), this is one of those moments that always reminds me of Roger Ebert’s immortal words – “It is not sadness in the movies that moves me.  It is goodness.”

Watch the entire clip:

The temple scene in Rhythm (2000):

When I finished watching Rhythm back in 2000, I knew I had witnessed something truly special.  As I had noted in an earlier write-up, one of the greatest gifts of director Vasanth is his ability to bring his worlds to me (as opposed to another favorite of mine, Kamal, who transports me to his worlds).  The reason I hold Rhythm in very high regard is the way Vasanth strips away anything cinematic from his scenes and instead, grafts scene after scene with such depth of emotion that ring so true because of being devoid of sensationalism and melodrama.  All this despite the thematic content of the movie actually lending itself to that kind of overstatement.  One of the more lovely scenes in Rhythm is the one at the temple where Arjun’s parents (played by that inimitable genius Nagesh and Vatsala Rajagopal) request him, a widower, to consider remarriage.  Nagesh is in sublime touch in this scene, expertly mixing humor with a touch of emotion.  Notice the way the Amma gently holds Arjun’s face and asks, “Engalukaaga kalyanam pannika koodaatha?” 

Watch from 0:38 min (If time permits, also watch the scene from the 8:05 min point where Nagesh and his wife have a charming little moment where they exchange acknowledging glances):

The “Dey, Amma da” scene in Kaaka Muttai (2015):

Just like how the crow’s egg of the title is a little treat to the kids in the movie, this movie is full of delicious little treats.  Director Manikandan’s Kaaka Muttai is an adorable little movie that’s filled with lovable characters and wonderfully written scenes that boast of both crackling humor and real, understated emotions.  Just before the climactic sequence, there is a scene where the mother reunites with the kids that ran away from the house owing to the pressure and glare of their sudden publicity, owing to the fact that the video of a pizza shop’s owner slapping the older brother, has gone viral.  When they run away seeing the police, the mother hollers out to them.  The younger kid, recognizing the mother’s voice, stops immediately and says, “Dey, Amma da!”  He goes to hug his mother.  But the older brother is a little more unsure whether the mother has forgiven him.  And, when the mother sports a small smile indicating that all is well, the kids start smiling too.  What could have been a sappy scene is elevated by some exquisitely controlled emoting from Aishwarya Rajesh – who is the undoubtedly the most natural performer among current actresses - and the child actors, Vignesh and Ramesh who deservedly won the National Award.  (Youtube clip not available)

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