“Heroism in our cinema is usually of two types: Active, where the hero questions something wrong that happens around him, and Reactive, where he reacts to a wrong done to him. I don’t know if it has been done in Indian cinema before, but we came up with the idea of a ‘Proactive’ hero in Thani Oruvan.”
“Films like #Comali try to convince you that the way to win over a woman is to stare and stare hard at her exposed waist. The director even gives us details of how the folds of her waist move, based on the type of bajji she makes.”
‘For as long as possible, I kept making allowances. I forgave clunky exposition in the name of dialogues. I turned a blind eye to an official discussion about an incoming meteor, which seemed more like a team huddle aimed at identifying the venue of the next office party. I tried not to make a big deal out of paintball being used as a shooting exercise for a space mission sanctioned by the Prime Minister.’
Unfortunately, reality, as Nallasivam of Anbe Sivam (2003) indicates, is more complicated. Evil people cannot be, and must not be lazily profiled by trivialities like ugly looks, bad hygiene, or innocuous personal choices. And yet, our filmmakers persist with this notion.
Arvind Swamy really plays to the gallery with his portrayal, and seems to revel in the character’s hedonism. He brings a sophisticated charisma to the role that Tamil villains have long lacked, a certain swag that some heroes would die for.