“While people pump each other with bullets, Rahman’s music remains observant while being strangely detached. It’s a shrug of the narrator’s shoulder, at the unstoppable tragedy of it all.
Chekka Chivantha Vaanam is a shining example of song integration into story. Pay attention to how variations of Sevandhu Pochu Nenju get used in this film in bits and pieces. Or even better, how about Mazhai Kuruvi, which transforms from love to lament?”
“She also gets slapped about, and it all makes sense when you pay attention to a line she sings in the duet, Adhiroobaney: “Unai paarkumbothey bayam varum, needhaan aanin ilakkanam.” Suddenly, I understood why barely a few seconds after getting slapped by Ramasaamy, she smiles at him.”
“Seemaraja is also the sort of film in which a fat woman comes running and Imman utilises an elephant’s trumpeting as BGM in a bid to get us laughing. The scene’s as funny as a burning orphanage.”
“I can summon tears at will. With due respect to method actors, I think truth comes out of spontaneity.”
“The media and Hollywood usually portrays technology in negative light. Searching isn’t one such indictment. Yes, technology can alienate, but it can also connect. It can make us hope, it can make us love… and maybe, it can bring a dad and daughter together — like in Searching.”
Sudhir Srinivasan 