Why the Cobb-Mal relationship in Inception isn’t a tragedy

I’m talking of the Cobb-Mal romance that occurs in a dystopian wasteland, a romance that unravels more in our minds than in the film—which is only fitting, considering that much of Inception happens largely in its characters’ heads.

Irrfan Khan: A rare artiste departs

“He could help murder someone (Maqbool), and somehow, evoke empathy. This was possible because in playing one of us in a film, he somehow managed to fill the character with every one of us.”

Why Vivekh’s Kannadasan is the real Dharala Prabhu

“Even Kannadasan thinks of himself as a ‘kevalamaanavan’, which finds a quick response from his assistant: “Correct sir.” Anger is a consequence of ego, and is it any wonder then that we hardly see Kannadasan lose his temper?”

The dreams of Game Over’s Swapna

“If any film really deserved to have people poring over minor details, it’s one like Game Over. It’s a shining example of what some of us have always shouted from the rooftops: Any film claiming to possess multiple layers must first work without them. The layers are flavours, not the food itself.”

Death and resurrection in the greatest 15 minutes of Selvaraghavan

“If you remember, it’s a film in which the woman, Anita, tolerates quite a bit. Kathir is ill-mannered and brutish, a quintessential Selvaraghavan central male character if you will. This one also ogles, misbehaves, abuses, stalks… He is pathetic. And she can’t seem to fend him off. Instead, like a germ, he ends up growing on her. He’s almost an infection, a flaw. He’s… human. She’s an epitome of patience, a giver. She’s… an angel, a goddess. He’s a sinner; she’s his saviour.”

A loveable monster

“The moving kindness at the heart of this film makes it an important film for children.”

The actor beneath the Superstar

“Almost every memorable mass film of Rajini’s has at least one scene in which his excellent performance has not been given its due, even if the scene itself is popular.”

AR Rahman and Rajiv Menon – A rewarding partnership

“Remember that this isn’t just a fanciful video where the crew went abroad because they could. The narrative here is well in keeping with the nature of Aishwarya Rai’s character in the film, who seems cursed with incurable restlessness and a youthful thirst for adventure.”

Revisiting Parasakthi, the film that changed everything

Soon as the song ends, a character graces the stage to express sadness over Tamils languishing in countries like Sri Lanka and Rangoon. This is when you get the first example of Karunanidhi’s imaginative writing: “Kadal neer yen uppaaga irukku endru karpanaiyil sonnaal, sondha naatile pizhaikaamal, ange vadiththa kanneeraal.”

Don-u don-u don-u

“You have to wonder when we went from being repulsed by these outlaws to rooting for them. When indeed did our filmmakers begin to conceive a don as a cool leader, his violent tendencies, like in Maari, supposedly an amusing extension of his proclivity for mischief.”

Why Thamizh Padam is necessary

“This is why Lollu Sabha was so glorious. Suddenly, we were laughing at the same scenes we were shouting ourselves hoarse about a month ago. We learned that our liking for something didn’t have to stop us from enjoying a joke about it. That show was the Riddikulus to the Boggart of our cinema.”

India’s jewels

“This trend of labelling films as the first of their kind in the country has turned into a contagious phenomenon. So crucial has it become that makers seem willing to go to  any lengths to legitimise the claim.”