nam naadu ( 2007 film )
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nam naadu is a 2007 tamil film starring sarath kumar and karthika mathew in ...
nam naadu is a 2007 tamil film starring sarath kumar and karthika mathew in lead roles and is the remake of the malayalam film lion .
as a whole, taking the whole film into consideration, nam naadu is a film for a political cause and also a commercial film that can be watched to kill the time and not more than that. nam naadu fails to hit bull’s eyes .
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this cast list of who was in nam naadu includes both lead and minor roles. (11 items )
nam naadu cast list, listed alphabetically with photos when available. this list of nam naadu actors includes any nam naadu actresses and all other actors from the film. you can view additional information about each nam naadu actor on this list, such as when and where they were born. to find out more about a particular actor or actress, click on their name and you' ll be taken to page with even more details about their acting career. the cast members of nam naadu have been in many other movies, so use this list as a starting point to find actors or actresses that you may not be familiar with .
song: kadhal ennum thotathil .
nam naadu
is a tamil film and is the remake of the malayalam film lion. music: srikanth deva. released: september 2… | pinteres…
high quality content by wikipedia articles nam naadu (english: our country) is a tamil movie released in 2007, which stars sarath kumar and karthiga in lead roles and is the remake of the malayalam film lion .
post pacchaikili mutthucharam, more things were expected from sarath kumar but he is back again with the same story of being a politician. apprehensively with more and interesting star casts, much was expected from this film, but nam naadu has not made up to its expectations. remakes must always go with the policy with the saying ‘better than the best’ and nam naadu being the remake of malayalam flick, there’s nothing special here .
thaai naadu (1989) tamil movie cd - rip 320kbps mp3 songs music by manoj gyan - starmusiq. com
gorringe, hugo and irene rafanell. 2007: “the embodiment of caste. ” sociology 41 (1): 97–114 .
thottal poo malarum () is a 2007 tamil romance film written and directed by p. vasu, starring his son sakthi vasu and gowri munjal, two newcomers, in lead roles, whilst rajkiran, sukanya, nassar, vadivelu and santhanam played supporting roles. music is composed by yuvan shankar raja. the film was released on 3 august 2007 and became an average grosser .
movie title - - - nam naadu unknown facts imdb rating and complete report imdb rating - - 4. 1 cast - - pragathi riyaz khan sarath kumar as muthazhagu sriman below actors passed away - - manivannan died on 15 - jun - 2013 movie details - - music by - srikanth deva produced by - singanamala ramesh release date - 21 - sep - 07 story - - a man not only alienates himself from his family but also endangers his life when he decides to stand for elections. review - - kollywood today wrote as a whole taking the whole film into consideration nam naadu is a film for a political cause and also a commercial film that can be watched to kill the time and not more than that .
srikanth deva’s musical score is not a commendable job and none of the songs out of 5 have come out. it would have been nice if director had shown his involvement for musical part of this film. getting to other technical aspects of nam naadu, the works are not quite appreciable and as mentioned earlier, it reveals of director’s non - involvement in the post - production .
these films revealed the hidden caste biases of dravidian politics and film - making .
caste assertion, in other words, is both reflected and reinforced through film .
in 2007, he returned in the lead role in
thottal poo malarum
again directed by his father p. vasu; however, the film was unsuccessful at the box - office. since then he has featured in the romcom
mahesh saranya matrum palar
, another unsuccessful film. vasudevan appeared in a supporting role in
ninaithale inikkum
where his role was appreciated by critics, and the film managed to break even .
thaai naadu is a 1989 tamil comedy, drama film, directed by r. aravindraj and produced by chemba movies. this film stars sathyaraj, radhika, m. n. nambiar, jaishankar, captain raju, srividya, janagaraj, nassar in the lead role. the films soundtrack and background score were composed by manoj gyan with lyrics by aabavanan .
after the huge success of enga veetu pillai, when mgr was considering his entry into politics, he signed up with reddy to remake a telugu hit kathanayakudu, which was made as nam naadu in tamil. when nam naadu released, both reddy and mgr went to mekala theatre to watch the reaction of the viewers. there was a scene in which mgr was being welcomed after his victory in the elections. the audience was screaming, clapping and whistling and asked the theatre owner to repeat the mass scene. after witnessing the cheers (that proliferated once scene was repeated), the superstar hugged the director and with tears of joy, he said, “thanks reddiar! i have received the people’s acceptance. ”
the wayside seller of hooch (the film' s producer rochak pandit played that role) .
today, this practice has been stopped as every film gets released across theatres as the distributor wants to make the maximum earnings from the first weekend. in 2007, ajith’s superhit billa set the trend when it got screened at both abirami and sangam multiplexes - a first in this area .
it is important to note here that such films are not confined to the south. in the film
mard (english translation: male or man or macho) is a 1985 hindi action film, starring amitabh bachchan and amrita singh and directed by manmohan desai. it was the highest earning film of 1985 .
srivathsan, a. 2007. “ethnography of violence. ”’ the hindu, april 29. retrieved october 28, 2015 (urltoken sundaymagazine / ethnography - of - violence / article2275175. ece) .
( tamil film - stars are popular not only by virtue of their cinematic appeal but also because of the close links they maintain with political parties and the checkered political career of the tamil film industry itself) .
1950s tamil film was largely used as a platform to articulate dravidian identity and tamil nationalism. the founding of the
after debuting in the tamil film ezhai padum padu in 1950, he acted in more than 250 films. he predominantly was cast in supporting roles in films of m. g. ramachandran like nam naadu, en annan, thedi vandha mapillai and others. later starred in films including rajinikanth' s thambikku entha ooru. the scenes in which he appeared as a mahout were popular in the 1980s. though he has made many films, he became famous for his dialogue in thottal poo malarum (varum, aanaa varaadhu ...) with vadivelu .
the film is a family entertainer, and steers clear of sex and violence. but somehow, it also guarantees that many of the main characters in the film act incredibly stupid. or rather, there is an assumption on the part of the filmmaker that audiences are stupid and the film needs to be on their level to evoke a response .
remaining part of the film is about how he sets out to cleanse the society from all its corruptions and illegalities .
sivathamby, karthigesu. 1981. tamil film as a medium of political communication. madras: new century book house .
ramesh babu under the banner of kanaka rathna movies after the successful venture with pokkiri has produced this movie. well, one thing that is clearly viewable in this film is that sarath kumar has well utilized this film to convey his political ideologies .
pandian, anand. 2008. “cinema in the countryside: popular tamil film and the remaking of rural life. ” pp. 124–38 in tamil cinema: the cultural politics of india’s other film industry, edited by s. velayutham. abingdon: routledge .
for the music of the film, p. vasu teamed up with composer yuvan shankar raja for the first time. the soundtrack was released on 23 june 2007 by rajinikanth and kamal haasan. it features 6 tracks, whilst' kavignar' vaali had written the lyrics for all the songs, but for
kadatharen naan unnai
, which had lyrics written by snehan .
there are some neo - nativist films where the metaphor of traditional masculinity collapses to become an object of comic relief. in the film
( devendra film company). the first production they mooted was to depict one of their leaders, thekkampatti balasundarasu, to be titled
abirami, however, never released hindi films until the reopening of one of their screens, post renovation (they renovated each of their screens one by one to make sure business does not stop). their first big hindi release was in diwali 2007 when they released shah rukh khan’s om shanti om in their refurbished swarna sakthi abirami. but abirami did not stop here, he even distributed the film in chennai. this move sent shock waves in the theatre business, with ega cinemas, which specialized in hindi films, taken by surprise. ega cinemas released only one film - saawariya - that diwali, missing out on the high profile srk film .
forrester, duncan. 1976. “factions and film stars: tamil nadu politics since 1971. ” asian survey 16 (3): 283–96 .
( a large sickle) and dead men lie all around. there is neither remorse nor fear in the eyes of the male protagonist. why should he? after all, violence is natural to the caste he belongs to, so believes tamil cinema (srivathsan 2007) .
the ways in which film plots feed into politics was graphically illustrated in 2013, when dr. ramadoss, the founder - leader of the vanniyar centered
the filmography in 3m films reinforces this attempt through the juxtaposition of national heroes such as subhas chandra bose, thevar leaders such as muthuramalinga thevar and the film’s protagonist, or through scripts that assert the valor of the thevars. the culmination of 20 years of caste - based cinema may be seen in the film
hardgrave, robert. 1973. “politics and film in tamil nadu: the stars and the dmk. ” asian survey 13 (3): 288–305 .
one question that might arise at this juncture is how the film - makers communicate the caste of the characters to the audience. in some instances, as with
, the very name of the film or the character locates them within a particular community. in others, however, it is the use of attire, mannerisms and bearing that connote particular castes. one important caste marker in the context of dominant masculinity, of course, is the moustache (gorringe and rafanell 2007). in consideration of the physical performance of masculinity, one of the most visible and effective practices—the styling of facial hair—comes to the fore in these films. in
sarath kumar was once a big action star. his movies were known for their stunt sequences. but in this film, the stunt sequences by super supraiyan are very ordinary .
in the end a compromise was reached in which the title of the film was changed and the plot line subtly altered to avoid being seen as a direct follow - up .
on the downside the film is too long, the politicians and the baddies are stereotypes whom you have seen in earlier films, the heroine karthika known for her girl - next - door type roles in malayalam lacks glamour, is uncomfortable in hip clothes and singing dream songs! technically the film is tacky with far too many goof - up' s .
ramesh kanna, who acts as a comic side kick of the corrupt minister has also written the script of the film. he has laced the film with some recent political happenings and makes barbed references to ruling and opposition parties in the state. nassar playing the corrupt minister aalavanthan is very good, while sarath as his son muthu is dashing and looks great in designer khadi .
they argue that the hero’s courting of arrest at the end of the film “signifies a total submission of the authority of the village community to state power. ” in line with our analysis of
grasping the inter - relationship between filmic eulogies and caste violence, dalit movements have sought to contest dominant depictions of caste pride and valor. this is best illustrated in the controversy surrounding kamal hassan’s film
a semi - biographical account of yip man, the first martial arts master to teach the chinese martial art of wing chun. the film focuses on events surrounding ip that took place in the city of foshan between the 1930s to 1940s during the second sino - japanese war. directed by wilson yip, the film stars donnie yen in the lead role, and features fight choreography by sammo hung .
director ar. suresh main cast r. sarathkumar; karthika; nasser; ponvannan; charan raj genres action, drama description nam naadu is a action based movie. it starts with aalavandhar (nasser) a corrupt politician who holds the post as education minister and wants to become the chief minister. he is supported by his son - in - laws, sathya (saranraj) ips officer who runs a finance company and ilamaran (ponvannan) ias officer, the district collector. with the idea of his in - laws, aalavandhar tries to disturb peace in state and make situation against the cm. muthazhagu (sarath kumar) a honest youth wing leader of the same ruling party learns and opposes the move of his father and he stands by and for the ...
in 2007, when ‘abirami’ ramanathan distributed rajinikanth’s sivaji in chennai, he brought in a new revolution by releasing in the film in record number of screens. in all other areas of chennai, there was wide showcasing but in purasawalkam area, abirami simply monopolized the distribution. while they played the rajinikanth blockbuster in all four screens at abirami, they did not give a single show to sangam. sangam reciprocated when they started distributing movies like vijay sethupathy’s pizza. the cat and mouse game followed when superhits kalakalappu and kumki were not released at abirami, while sangam played it exclusively .
thus, when a film cast them in a less glorified and flattering light they were quick to respond. in madurai, theni and kovilpatti districts, for instance, cinema halls were damaged during the screening of
( we must learn to live as one, 1992) which openly discusses dalit questions. however, not only is it a comedy, it stands as an exception which “shatters the stability of the delicate logistical constructs around which are organized the discursive hegemonies of caste society” (srinivas and kaali 1998: 221–22). srinivas and kaali are right to point to the utopian aspirations embodied in the film, but it is important to stress that for the most part dalits are not only portrayed in humiliating ways, their options in film making are limited. when the name of a. l. vijay’s film starring the actor vikram was announced as
nasser, one of the finest character actors in tamil cinema, plays the father with his usual flair. his performance rises above the level of the film but he seems to be bogged down by a pedestrian script .
the music was scored by yuvan shankar raja, teaming up with director v. priya again after
kanda naal mudhal
( 2005). the soundtrack was released on 23 august 2007 by vivek oberoi. it features 5 tracks, including a retune of the yesteryear hit song
andru vandhadhum
from the m. g. r. - starrer
periya idathu penn
, being just the second song to be retuned after a. r. rahman' s
thottal poo malarum
from the film
new
. noticeably, singer shankar mahadevan lent his voice for three songs. lyrics were provided by thamarai .
n am nadu, sarath kumar' s first film after he launched his own political party in tamil nadu, is about the rise of a young politician whose ethics are sharply in contrast with his father' s ambitions .
( battle rooster, 2005) the hero makes no such claim, but the film illustrates both his thevar caste and his madurai location to explain his ability to take on and defeat the villains from elsewhere in the state .
kaali, sundar. 2000. “narrating seduction: vicissitudes of the sexed subject in tamil nativity film. ” pp. 168–90 in making meaning in indian cinema, edited r. vasudevan. new delhi: oxford university press .
formal experiments in new cinema the film enters dream - space. balo presumably dreams of jinda at home, raped, and it is unclear as to whether the arrival of the husband is part of her dream or not .
in the dramatic finale to the film, kamal hassan vanquishes the villain in a gory beheading scene that was greeted with whoops and cheers in the theatres of madurai. one of the authors experienced the same film in the western city of coimbatore where the audience were muted in their response and there were murmurings about the excessive use of violence. whilst audience participation in the form of cheering, whistles and applause is widespread, it is the celebration of violence that stands out here. in pandian’s (2015) ethnography of film - making in tamil nadu he emphasizes the silence during harrowing scenes. it is our contention that the violence is celebrated here due to its association with caste dominance .
is a very different film to those described above, but it still re - asserts the hegemonic narrative or common - sense that equates thevars with honor. the thevar caste, in other words, in the words of a song from
even last week, he sprung a surprise on the entire industry by waiving off the most talked about online booking charges in his theatre, which many believe has come from the right person as he heads the tamil film chamber of commerce .
and, belying the actor’s claims of neutrality, debates about the film ended up with “puthiya tamilagam opposing it and splinter groups of the all - india forward bloc [ a thevar front ] and some mukkulathor outfits offering to provide protection. ”
krishnan, rajan. 2008. “imaginary geographies: the makings of ‘south’ in contemporary tamil cinema. ” pp. 139–53 in tamil cinema: the cultural politics of india’s other film industry, edited by s. velayutham. abingdon: routledge .
for the last few years, abirami is often the first theatre to open advance bookings for a blockbuster film. they were also the first to stop advance bookings for films like vishal’s madha gaja raja and kamal haasan’s vishwaroopam, signalling postponement. while abirami is one of the pioneers in sound technology (they installed dolby sound system even before the release of kamal haasan’s kurudhi punal - the first tamil film mixed with this sound), today they have the latest laser projection for their screens .
) of the hero or his family is questioned or challenged. crucially for our argument, the cinematic offerings most closely adhering to the 3m formula have not only provided a discourse through which to discuss caste, but also offered a template according to which dominant castes have sought to reimagine and reinforce their dominance. in metonymically linking film stars to political figures, such films suggest that thevars have a right and a duty to uphold their honor. for example, the title song in the film
regeneration is a 2010 american documentary film written and directed by phillip montgomery that looks at the issues facing today' s youth and young adults, and the influences that contribute to america' s current culture of apathy toward to political and social causes .
likewise, whilst volumes have been devoted to discussing the significance of caste in tamil politics, there has been less attention paid to the ways in which caste is played out in the cultural sphere of film (but see srinivas and kaali 1998) .
interestingly, anna nagar despite being a big residential area, does not have a single movie hall. this is because the highly affluent residents never visited a cinema in the 1990s, preferring to watch films on their vcrs at home. and while there were no proper theatres in the ‘90s, from the early 2000s, it became impossible to invest in a plot and construct a theatre in anna nagar. the screens in aminjikarai served as a small alternate for the residents! for example, vijay’s 2007 blockbuster pokkiri had a 100 - day re - run at aminjikarai lakshmi, where the film released post its 100 - day run in release centres. this was a new record that was previously owned by rajinikanth’s annamalai in 1992 !
( master, our thevar master) excised from the film. more recently, followers of militant pallar founder - leader of federation for the progress of tamil people, john pandian, smashed glass cases in a cinema hall during a screening of c. sundar’s
move on is a road movie like no other, because it is inspired by film fans from all over europe! this breath - taking movie directed by asger leth features mads mikkelsen on a secret mission in 8 episodes, each taking place in a different european country .
tsv hari of urltoken described the film as
very ordinary fare ,
adding that
sakthi certainly deserved better .
m bharat kumar of
news today
called it a
mediocre offering
with
predictable sequences ,
noting that
the son seems to have delivered the goods well, while the father has failed as a director .
however ,
indiaglitz
described it as a
feel - good youthful entertainer
with an
intelligent screenplay and pacy narration
that is
sure to appease film - buffs .
was deliberately used to mobilize thevars during the pallar - thevar riots that flared up repeatedly between 1995 and 1998. thevars in riot torn villages screened the film (rajangam 2008: 60), and its songs were used to instigate inter - caste violence (ravindran 2008) .
to understand this genre, however, we need to start with the archetypal celebration of thevar dominance. according to krishnan (2008), “it is a kamal hassan [ one of the two most famous tamil actors, and not himself a thevar ] film of high authenticity markers called
where signs, weapons and dialogue all speak to the caste’s dominance. the advertising for the film reinforced the association between caste and violence. in madurai, which has a stronger visual culture than other cities in tamil nadu, a 40 - foot cut - out was installed showing the
‘abirami’ ramanathan’s pet child - the four - screen multiplex abirami mega mall– has seen the industry evolve. the abirami complex entered business during the early 1970s, at a time when the multiplex boom started in chennai. starting 2007, abirami took up each screen for renovation and brought up different theme - based theatres. they even introduced a new jargon in cinema trade - the ‘7 star theatre’. there is a waiter on call to deliver you dinner and there are recliner seats, which can be turned into a bed while you watch your favourite flick .
( the hunter, babu sivan, 2009), for instance, the fact that the hero is a college student is an irrelevance next to his ability to fight. “if i hit you” one of the film songs puts it, “you won’t be able to bear it”—thus asserting his superiority over the villains .
( god’s chosen son, 2011), there was an outcry from thevar groups who have trademarked that phrase for pasumpon muthuramalinga thevar and were particularly infuriated by the fact that the main actor in question was a dalit who is celebrated by pallar youth as one of their own. eventually the film was released as
( son of thevar, bharathan 1992) —meaning ‘son of thevar’—that can be said to have inaugurated the era of the south being represented as primarily a sickle bearing space. ” stalin rajangam, a dalit cultural critic who has written extensively on the caste component and narrative structures of tamil film concurs; he says that
was if anything the reverse. films, once they are released, have a life of their own that is beyond the intentions and direction of the film makers. in this sense, we find krishnan’s reading of the films somewhat limited. at several points, for instance, he makes arguments to the effect that :
dhoni’s ability to absorb pressure comes to the fore even as a captain and a keeper when his team defends scores. who can forget his gamble to give joginder sharma the last over in the 2007 t20 world cup final? or his lightning wicket - keeping skills which made him find the split second when the batsman’s foot was off the ground to dismiss ian bell in the 2013 champions trophy final and sabbir rahman in the 2016 t20 world cup match? or his street - smart thinking evident in removing his gloves and running to get mustafizur rahman run - out in the last ball of the same t20 match ?
well, director suresh seems to have good rapport with sarath kumar for he has successfully directed 3 films for him. going for the remake, the film remains drier at few points and that’s quite boring for the audience to sit and watch it with patience. the only convincing thing over here is the dialogues penned by ramesh khanna and he has carefully handled the lines pertaining to situations. but few dialogues in the film tend to reflect some of the real life incidents in present day politics of tamil nadu. also mentioning of names like ‘amma’ and pricking indirectly some of the political personalities is more punching and that’s reveals sarath’s notion of passing the ideologies .
pandian argues that film has “come to provide a language for the social life of kinship and attachment” (2008: 131). certainly, many of these films have been adopted by thevars in southern tamil nadu through posters, symbols, banners and the playing of film songs and dialogue at cultural events. as kaali (2000: 186) argues, “identification with ego - ideals on the screen need not inevitably entail ‘misrecognitions of self, ’ but, in many cases, could involve elements of empowerment” and identity change. the portrayal of thevar violence and valor on screen and their positive reception, serve to embolden thevars and legitimize their use of violence .
indeed, film historian theodore baskaran (1996: ii) goes as far as to argue that: “tamil cinema has grown to become the most domineering influence in the cultural and political life in tamil nadu. ” film stars have a larger - than - life presence in the real world and female stars have been deified during their active period in the industry. the emergence of cinema in tamil nadu and its subsequent role in nurturing and promoting a dravidian identity and politics have been the focus of several monographs (see forrester 1976; hardgrave 1973; pandian 1992). that history, whilst relevant, is not our focus here and so we refer readers to the aforementioned texts .
purasawalkam is often considered as the signal provider for the entire cinema industry. if there is uncertainty over the release of a film, the opening of advance bookings at abirami mega mall is considered a green signal for the movie’s release. the highly reputed and influential veteran ‘abirami’ ramanathan is the trade’s powerhouse and all roads lead to him for crucial decisions .
( love, 2004) —a low budget film about a romance between a couple of unspecified castes who are, nevertheless identifiable as a thevar girl and a dalit boy. when the couple is discovered, the girls’ family beat the boy to a pulp. crucially, for our argument, the representations on screen are transposed into the caste politics of everyday tamil nadu :
while the modern state is compromised by electoral politics allowing such hooligans to exercise control over politicians or elected representatives, it is nevertheless capable of producing neutral individuals like saami [ an honest and heroic policeman from the 2003 film of the same name ] in its administration who can annihilate the anti - state bodies and their caste - criminal networks (2008: 142) .
the power of this common - sense argument is such that it is not just thevar actors, producers and cinematographers who adopt this formula. the commercial success of such films has made them immensely popular, which has a ripple effect that influences the way other films focused on southern tamil nadu are shot. even non - thevar directors like gangai amaran are not immune. his film
thus, even in the overt condemnation of caste violence, dalits are stripped of their agency and rendered passive recipients. other popular film tropes similarly conspire to relegate dalits to the margins. the emphasis on bull - taming is a case in point, since dalits were historically barred from taking part in such contests and have only begun to enter them since the dalit struggles of the 1990s .
following caste - based challenges to dravidian politics from intermediate caste groups like the thevars and vanniyars—and their demands for a greater allocation of resources and increased political recognition—the 1990s saw the flourishing of nativist (a form of social realism) cinema that openly celebrated and portrayed caste identities and characters. it is only in the 2010s that we see the film industry starting to acknowledge and represent dalit struggles in films such as
that the close association between caste and valor is to the fore. when kamal hasan’s character, who has been in singapore for many years, returns to tame a bull as though he has never been away the film suggests that caste is an innate and immutable essence rather than a code of conduct. this maps onto changes in caste composition and practice in which an emphasis on conduct gave way in the early 20
kamal hassan’s character returns from london with hippie - style long hair but, after the death of his father, he gives up colored clothes, rids himself of his locks and sports a big moustache that marks him out as capable of filling his father’s shoes. critically, in the film, this responsibility should have gone to the elder brother, but his masculinity is at stake due to his alcoholism and lack of valor .
the soundtrack composed by a. r. rahman and all lyrics by vaali except
spiderman
song which was written by vairamuthu, was critically well received. in an interview in 2001, surya earlier stated that deva had composed ten songs for the film, but he was later replaced by rahman. rahman remixed the 1964 hit tamil song
thottal poo malarum
from the movie
padagotti
with completely modified orchestration, tune and singers .
, spearheaded by periyar e. v. ramasami naicker and his “self - respect movement, ” in many ways had a direct influence in changing the structures of film making and inevitably led to the creation of a distinct tamil cinema that disrupted attempts to construct a sense of a nation through cinema (leonard 2015). these films departed from the earlier focus on religious and nationalist sentiments and articulated a rationalist critique of social ills. the founder of the
further undermining the anti - caste violence subtext of the film, the movie featured a provocative snippet in which the lead character virumandi is called “sandiyar” in one exchange and, when he corrects the character they reply: “you will always be sandiyar to us. ” there was also a song of the same name flying in the face of the compromise agreed to. the launch party was held in madurai as if to reinforce its 3m leanings, and prominently featured
6 sivappu malli (red jasmine, rama narayanan, 1981) and kann sivanthaal mann sivakkum (when eyes turn red, the soil too will, sreedhar rajan, 1983) are classics of this genre—dealing with labour unrest, feudal landlords and class disputes. the occasional film since that point has addressed similar themes, including aravindhan (a name, t. nagarajan, 1997) and anbe sivam (love is god, c. sundar, 2003) but these are few and far between .
( love, 2004), for example, he sees a classic expression of the tamil psyche as constituted in tamil cinema; one which is “torn between the threatening pre - modern assertion of caste and an allegedly ‘egalitarian, ’ free market space of modern individuals. ” in the film a dalit boy who “presumes” to court a thevar girl is grievously assaulted. taking our cue from krishnan’s work, it is possible to discern how such tropes are reproduced in a range of different films. thus, in
when the film begins, we see muthazhagu, an idealistic youth leader, who doesn' t hesitate to take on aalavandan, a powerful minister in the state (nasser). the father - son duo whose politics are at polar ends, however, live together. muthazhagu' s mother and younger sister are his only solace. his older sisters are married to civil servants - - one is an ias officer and the other an ips officer. both civil servants are the real brain behind aalavandan' s political designs .
sreenivasan’s “melodrama story period” was, of course, the period in which the dmk successfully mediated their socio - political message to the public through the medium of film. songs, story - lines, robin - hood style heroes and almost subliminal references to party symbols like the flag and the rising sun, were deployed to present the party as the champion of the downtrodden. some of the “excess dialogue” took the form of lengthy monologues in which the hero addressed the camera in lectures about socio - political values. as rajadurai and geetha (1996: 572) note :
the moustache here becomes synonymous with tradition and social power and this knowledge is simultaneously deployed and reinforced in films. the close association between caste standing and facial hair is emphasized in one song where even background photographs of sivaji ganesan (acclaimed tamil actor) —who portrays the character of periya thevar—have been altered to sport an upturned moustache to be more in keeping with the thrust of the film. few men, as oldstone - moore (2011) argues, have groomed themselves in complete ignorance of the social implications and, we would add, still fewer directors shoot films in ignorance of the connotations that their character’s facial hair may have .
the film is all about a gripping relational emotions between a father and son who belong to same political party but with different ideas. alavandhar (nasser) is a double dealing education minister who wants to become chief minister and with the help of his son - in - laws sathya and ilamaran (saran raj and ponvannan), he starts creating problems within the party to overthrow the rule of present chief minister (vijay kumar). finally the government gets dissolved and alavandhan sets ready contesting for polls and it is at this point of time, his son mutthazhagan (sarath kumar) opposes his father and gets to become the home minister .
), that archetypal symbol of traditional masculinity, caste pride, and feudalism which is most popular in madurai district. the backward and caste - bound nature of madurai in these films, is reinforced in accounts of the city’s frenetic fans who treat film stars as demigods (dickey 1993). it was in madurai that fans cut off fingers and limbs and offered them to god when mgr suffered a stroke, praying for his recovery. in his analysis of recent films, krishnan (2008) shows how madurai is now constructed in the narrative space of tamil cinema as the antithesis of the modern, and a place where people are still ruled by caste, clans, and kinship networks .
, however, the scene could be read as asserting that only a thevar can uphold the law. in any case, the symbolic submission to the state occurs at a time when thevars were being assiduously courted by both dravidian parties and gaining socio - political influence (cf. human rights watch 1999). we have dealt with this issue at some length because it has a critical bearing on the third facet of krishnan’s argument about self - fulfilling prophesies. here we would not just agree with his note of caution but argue that this has already happened to a great extent, as he himself notes by referencing the use of thevar film - songs at caste functions and events. the portrayal of a brigand - like, violent caste culture may well have been
what makes tamil cinema stand out, however, is its umbilical link to politics. cinema in the state grew hand in hand with the regional nationalist parties, helping to by - pass congress—who failed to realize the significance of the medium—in the process (hardgrave 2008: 61). congressmen never realized the power of film, says kannadhasan, song - writer for the tamil screen and one of the founders of the dmk. “they decried the cinema. we used it. ” (hardgrave 2008: 61). we would argue that tamil films since independence, may be divided into political as well as artistic genres. until the 1970s the dominant political message was dravidian. this overlapped somewhat with films showcasing a communist or socialist message between the late 1960s and mid - 1980s .
the script is a party manifesto for sarath. but it' s a very peculiar one. this manifesto masquerading as a script is devoid of any political ideology. instead, it extols virtues like dignity, tolerance and generosity as is present in plenty in the hero muthazhagu (played by sarath) .
some of the sequences remind us of political events in the state. for example, the arrest of aalavandan reminds one of the arrest of chief minister m karunanidhi a few years ago .
sreekanth deva' s music is ordinary. the background music is borrowed from a r rahman scores. the dialogue by ramesh kanna is condescending and overwritten. characters often talk more than they need to .
director suresh needs to realise that unless the scripts are original, it takes a miracle to save a movie. and even in a bankable star like sarath, he finds no miracle .
nothing to comment on the performance of sarath kumar for he seems to have done the same as he had done in his previous films. there is nothing special to comment on karthika’s performance for she has nothing to perform in the frame .
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has terrific title value, as it was mgr' s launch pad when he formed his own political party after he fell out with the then chief minister and dmk supremeo m. karunanidhi, in the early 70' s. no wonder sarath kumar has kept the same title for his first release after the launch of his political party !
. the mallu original was a satirical look at a real life kerala minister who was corrupt and running politics and administration along with his i. a. s and i. p. s son' s - in - law !
his son a' mr. clean' comes along exposes the corrupt family and later becomes a home minister who cleanses the system from within and becomes a mass hero. all this is told in light hearted manner with a dileep comic touch .
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a man not only alienates himself from his family but also endangers his life when he decides to stand for elections .
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aspiring to become the state' s next chief minister, education minister aalavandhar conspires with his corrupt son - in - laws, ilamaran and sathya, to do away with the opposition and enable an uncontested election. he then decides to allocate land to a soft - drink company but faces opposition from his idealistic son, muthazhagu, who belongs to the youth wing of his own political party. the latter, with the help of the courts, is able to overturn the land allocation but ends up alienating his entire family against him. sathya and ilamaran then conspire against muthazhagu, and create challenges and obstacles for him in order to compel him to leave politics. when they find out that he is adamant and even willing to contest the elections against his father - they decide to do away with him - once and for all .
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a marine patrol stops at firebase gloria at the start of the tet offensive during the vietnam war. with the firebase attacked, the patrol remains to help defend it. the marines barely hold off the vc (viet cong), but in the end, hold the base .
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der baader meinhof komplex depicts the political turmoil in the period from 1967 to the bloody
deutschen herbst
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after a cavalry group is massacred by the cheyenne, only two survivors remain: honus, a naive private devoted to his duty, and cresta, a young woman who had lived with the cheyenne two years and whose sympathies lie more with them than with the us government. together, they must try to reach the cavalry' s main base camp. as they travel onward, honus is torn between his growing affection for cresta .
rudraba, daughter of ganapatideva, the emperor of the kakatiya dynasty, was officially designated a son through the ancient putrika ceremony and given the name rudradeva so that she could succeed her father after his death. despite opposition, she became of the most prominent rulers of the kakatiya dynasty and one of the few ruling queens in indian history .
enraged at the slaughter of murron, his new bride and childhood love, legendary scottish warrior william wallace slays a platoon of the local english lord' s soldiers. this leads the village to revolt and, eventually, the entire country to rise up against english rule .
in 1942 the british ruled india, a time when people were either working for the british or rallying for underground meetings and protests against them. amidst this background, naren singh, falls in love with rajeshwari pathak. but their romance is not an easy one, for naren comes from a wealthy, british supporting, family. but rajeshwari is poor and is fighting against the british .
12 - year - old dre parker could have been the most popular kid in detroit, but his mother' s latest career move has landed him in china. dre immediately falls for his classmate mei ying but the cultural differences make such a friendship impossible. even worse, dre' s feelings make him an enemy of the class bully, cheng. with no friends in a strange land, dre has nowhere to turn but maintenance man mr. han, who is a kung fu master. as han teaches dre that kung fu is not about punches and parries, but maturity and calm, dre realizes that facing down the bullies will be the fight of his life.
nam naadu ( english : our country ) is a 2007 tamil film starring sarath kumar and karthika mathew in lead roles and is the remake of the malayalam film lion.dubbed in hindi as hukumat ki jung 2 . the film received negative reviews and failed to replicate the success of the original . 
nam naadu (english: our country) is a 2007 tamil film starring sarath kumar and karthika mathew in lead roles and is the remake of the malayalam film lion.dubbed in hindi as hukumat ki jung 2. the film received negative reviews and failed to replicate the success of the original.
nam naadu (english: our country) is a 2007 tamil film starring sarath kumar and karthika mathew in lead roles and is the remake of the malayalam film lion.dubbed in hindi as hukumat ki jung 2. the film received negative reviews and failed to replicate the success of the original.