Monday, 9 June 2025

When my Home Speaks...

As I stand still and quiet, watching you breathe,
I hold the echoes of your laughter, your sighs beneath.
You ask what I think—of you, of us—
My dear, you are the reason I exist, thus.

When you wander restless from corner to chair,
I cradle your silence, I soften your despair.
You say I put up with your boredom, your moods—
I see them as rhythms, your own soulful truths.

Every chip in my paint, every creak in my frame,
Is marked by your presence, not worn out in shame.
You’ve given me purpose, filled me with grace,
With every soft glance and each lived-in trace.

You call me shelter, but I call you spark,
The warmth in my wood, the light in my dark.
You dance through my rooms like sunlight in folds,
I hold you in quiet when the evening grows cold.

Where you unravel, I gather you close,
In your stillness, I bloom like a hidden rose.
You lean on my walls when the world feels too loud,
I stand tall beside you, quiet and proud.

You and I—imperfect, complete,
You bring the soul, I bring the seat.
When you’re worn thin, I offer retreat,
And when I seem empty, your presence repeats.

We complement like moon and tide,
You carry the storms, I hold you inside.
Not just your shelter, I am your skin,
A witness to all that pulses within.

I hear your heart thanking me
But my love, I want to thank you for making me your home.
I am home because of you!

Friday, 6 June 2025

Thug Life - Movie Review

The much-awaited collaboration of writer-director Mani Ratnam and Dr. Padmashree Kamal Haasan, Thug Life, has released in the midst of hype because of the grand success of Nayagan—which is one of the highest-rated IMDb movies ever made in Tamil cinema. It is also often used as a reference for good film making. I wanted to set this background because Thug Life is the opposite. In a way it is a success too, because it clearly says how a movie should not be.

The movie just did not make sense.

The story is a Nayagan spin-off at a base level — the protagonist, raises a baby who turns out to be the villain  which was so similar in Nayagan also. Also, how the acts of the protagonist—that is, Velu Naykar in Nayagan, or Rangarayan Shaktivel in Thug Life impacts not only their lives but also others both directly and indirectly.

Anyways,  while watching Thug Life I had to remind myself that I am watching a Mani Ratnam film. A. R. Rahman's magical music—sarcasm indeed - appeared as if I was scrolling through some reels or stories, you know, where you see something as a video but the audio is completely disconnected. The scene would be something and the song would be something else altogether, which made no sense at all. It’s so disjoint that it’s so confusing. It’s actually irritating, to be very honest.

I even felt that the interval is misplaced, and the first half is almost one and a half hours long. The movie itself is two and a half hours long, so you can imagine. And the sad part is, the trailer gave away a lot. So there were absolutely no plot twists that could potentially keep us engaged.

Also, there was no Mani Ratnam signature. Of course, there was a train sequence, there were a couple of mirror sequences and all, but it just looked forced—like someone gave permission to Mani Ratnam that he could use them. It really didn’t look like a Mani Ratnam film. It looked more like a confused dialogue between Mani Ratnam and Kamal Haasan, and ultimately, both of them just decided, “Okay, let’s just do something and get over it.”

Even the editing—you know—it looked like sharp cuts rather than a seamless edit. I think the cinematographer has tried to manage the colors and the palette abs lighting. But after a point, the movie just looks stylized for the sake of it, rather than organically 

Let's just say the screenplay is really lazy. It absolutely makes no sense.
A suicide in the beginning sets the tone of the film like that's the underlying reason, but it could have been any reason and it wouldn't have mattered. Then suddenly, Kamal Haasan strangely learns some martial arts from some Buddhist monks and therefore he is able to fight. I mean, isn't he a gangster? Shouldn't he ideally be known to fight? So there are all these small details that are thrown here and there, like how we throw some food to the birds and the birds come fluttering and they eat. But audience are not birds, you know. Like we're not waiting to be fed—or, I mean, we may be—but it has to make sense. It can't be random stuff, and this movie was random.

Kamal Haasan's acting? Okay, he has done a good job. I think it's a cakewalk kind of a role. I don’t think there was anything absolutely challenging for him. Abhirami, Trisha, Simbu, Joju, Nassar, Aishwarya Lekshmi, Vasivukkarasi, Ashok Selva—I mean the list is just too long. They all come and go. And out of nowhere, even Sanya Malhotra is dancing in the “Jingu Ja” song. But why? Its staging reminded me of the “Yaaro Yaaro Di” song in Alaipayuthey and “Sattru Munbu” song from Kaatru Veliyidai. 

I have always appreciated director Mani Ratnam for risking it all and trying something new and different. If it fails, that's fine. But this movie looked like no attempt. It just looked like people got bored or they just knew from the beginning that something is wrong and they were just trying really hard to make it work. Maybe that just tells you why A. R. Rahman added four extra songs for the movie. 

And the story is nothing new. And what is new, I would say, is... the derogatory projection of relationships, where men take the women for granted. That’s something I have not seen in Mani Ratnam films. That’s something new, because the character of Kamal Haasan is married to the character of Abhirami (Jeeva) and they have a daughter. But then he is also in an open relationship with the character of Trisha, named Indrani. There is a good background to it—you know, how she came into his life and all that—but that openness of it, and when the women are unhappy visibly, yet it is being conveniently ignored. Also the scenes with them involved a lot of groping, grabbing, biting, and whatnot. So it just appeared a little misplaced. 

Even the action pieces seemed forced and uninspired. 

As audience, we are forgiving. But at the same time, I felt that probably the screenplay is written more by Kamal Haasan than Mani Ratnam, because there was absolutely nothing Mani Ratnam-ish that I found in the movie. Maybe I had expected that, and because it was missing, I did not like it. And even otherwise, I don’t think it’s a great movie. 

I would say you can give a gentle pass for the film. But if you want to put yourself into a self-inflicted torture just the way I did, please hop in and join the club!

Wednesday, 4 June 2025

Thug Life Controversy: A Fan’s Perspective

The Thug Life audio launch was a grand event—graced by distinguished guests, celebrated technicians, and even a special guest from Karnataka. The atmosphere was electric, with hundreds of fans hooting and cheering, all eagerly awaiting the release of Thug Life. And rightfully so—this is one of the most anticipated films in recent times. After all, Kamal Haasan and Mani Ratnam are collaborating again after Nayakan, a critically acclaimed masterpiece that released nearly 38 years ago.

Although I wasn’t physically present at the audio launch, and I’m not connected to the film in any official capacity, I still feel deeply involved. I am the general audience—the one who has been waiting since the moment this film was announced. And why? Because of one person: Mani Ratnam.

Ever since Guru, I’ve made it a tradition to watch every Mani Ratnam film on the day of its release. From my student days to now, as a working professional, that ritual has never changed. It has become a part of my identity—this joy of walking into a theatre, joining a community of fans, and immersing myself in the cinematic experience. I’m not just a fan; I’m someone who can quote Mani Ratnam’s dialogues, who can discuss the nuances of a single shot for hours. Cinema has always been more than entertainment to me—it’s emotion, it’s connection, it’s celebration.

And yet, today, I feel deprived.

I’ve followed every update about Thug Life, read every article, watched every interview. I’ve been excited about the trailer, the music releases—building the film in my mind, waiting eagerly to see how it unfolds on screen. But now, due to political tensions and conflicting narratives, I find myself denied the simple joy of watching it in my own state, Karnataka.

Everyone talks about freedom of speech and expression—we’re told we live in a democratic country. But what about my right to be an audience? What about my right to watch a film that was made, presumably, for people like me?

This is a conflict I do not fully understand—nor do I wish to, because it seems to be between individuals and groups, rooted in politics and perception. But art should transcend all of that. Art should take the front seat. It speaks to our shared humanity, not to our divides.

If this movie was truly made for the audience, then it is the filmmaker’s responsibility to ensure it reaches us. And right now, I feel ignored, unseen. I live in Karnataka, and this movie isn’t releasing here—on the day it matters the most to me. That hurts. It hurts deeply.

Why should political views take precedence over artistic expression? Why is no one talking about the disappointment and helplessness of the general public, of fans like me? Is it ego? Is it righteousness? I don’t know. But the end result is the same: I am deprived.

I’m not here to criticize anyone’s actions. I just want to say that I’m a simple person, a passionate movie lover, and I feel left behind. And that, too, is a problem—one that deserves to be acknowledged.

Thursday, 22 May 2025

Thursday Murder Club

I just finished reading The Thursday Murder Club, and honestly, I didn’t enjoy it. 

The premise is great—an old age home where elderly residents still take an active interest in life. That’s a lovely idea, and it reflects reality. But the plot itself felt far too broad. There are two consecutive murders, a huge cast of characters, and yet nothing really happens.

As a reader, we’re given no real clues to hold on to, so there’s no opportunity to play detective alongside the characters. It all just feels... blah.

I don’t think I’ll be continuing with the series. The story might have been more compelling without the murder subplot—just a quiet, thoughtful look into the lives an engagedd relationships of the elderly characters would have interested me far more. 

As it stands, the murders feel understated and unearned. A good mystery should draw the reader in, leaving a trail of subtle hints that make us feel part of the investigation. That element was completely missing here, and with such a meandering plot, I found it hard to stay engaged.

2.5/5

Sunday, 11 May 2025

Mere Stories

Today's emotions -
Are stories of tomorrow.
Mere stories. That's all.