Kaaka Muttai: A rare crossover from the region
Transcription
Kaaka Muttai: A rare crossover from the region
6 South Pole: A Deep Dive Into Politics, Society And Culture Kaaka Muttai: A rare crossover from the region Little magazines blossom online Imaging: Shinod Akkaraparambil Many Publications Died Out In 1990s; Some Have Found New Lease Of Life [email protected] T he fiery ‘little magazine’ movement that took off in the 1960s has seen its best days and the fire is dying out now, believes Shanmugasundaram, editor of ‘Kavya’, a little magazine. A younger Aravindan, former editor of ‘Kalachuvadu’, however insists the fire will not die out until writers start believing it will. Azhagiyasingar, who launched his “Naveena Vrutcham” in the mid-80s, weighs in by saying the existence of these publications is not threatened by circulationoriented popular magazines but by fellow writers. The jury is still out on the little magazines though it would seem that given their rather unstable existence there have always been doubts about their future. Many have closed shop but that has been the norm in their world. Often, lack of funds forces closure, but ego clashes continue to be a death-driver. The leading lights that faded away in the 1990s include “Saraswathi”, “Ilakkiyavattam”, “Ezhuthu” and “Nayam” but “Kanaiyazhi” sprang back to life recently. Today, the writing quality in blogs and some Facebook pages run by literary celebrities can aspire to the little magazine tag. The passion for literary expression continues and is patronized by a small group of influential thinkers, writers and bureaucrats. “We write for the love of writing, not to pander to ‘popular’ demand,” says Sahitya Akademi award winner and one of the founders of the well-known little magazine ‘Kasadathabara’ S Kanthasamy. It would seem that the Tamil cognoscenti would love the unlimited space given by internet. But many veteran little magazine writers seem unmindful of the booming new media as another avenue to reach readers. POWER OF THE WRITTEN WORD Tamil Nadu has always had a tradition of niche magazines, that is untouched by market trends and popular demand, catering to a more high-brow readership LITTLE MAGAZINES SERIOUS CONTENT LIMITS CIRCULATION TO 10,000 Writers strive for stylistic perfection Anti-establishment Topics range from critique of media, culture and society to self-introspection Experimental writing Modern poetry (Puthu Kavithai) came into being through them Popular for its quality of writing, they run without the patronage of advertisers MIDDLE MAGAZINES NOTABLE LITTLE MAGAZINES Circulation 10,000 - 30,000 copies Acts as a bridge between little and popular magazines Mixed content though quality not as good 1960s: Manikodi | Ezhuthu | Kasadathapara | Ilakkiyavattam | Saraswathy | Pragnai POPULAR MAGAZINES CURRENT Readership of more than 50,000 Market-driven Sensitive to reader demands PUBLICATIONS Kuril Kanaiyazhi Kalachuvadu ONLINE REVIVAL: Before 2000, the readership of little magazines was solely dependent on word-of-mouth | Internet-boom has infused new energy | New readers from other countries | Articles published as blogs | Archives available online “Our subscribers reach us through word-of-mouth and they tend to remain loyal readers,” says Dharmaraj who runs the 15-year-old “Puthugai Thendral”. Former marine engineer and historian K R A Narasiah wrote “Cambodia Kanavugal” (Cambodian dreams) for Puthugai Thendral which went on to be published and won the state award for best book. Dharmaraj points out, “Little magazines may not be generating revenue or THE TIMES OF INDIA, CHENNAI FRIDAY, JULY 3, 2015 [email protected] E popularity, but the writers who contribute are of the highest quality.” Like many other little magazines, the ‘monthly’ Puthugai Thendral, which has a circulation of about 3,000 copies publishes modern poetry, articles on Sangam Tamil literature, and ancient medicine and critiques of media, culture and society. A reader of little magazines for over three decades, Santhanam says that the quality of writing has come down since the late 1990s. It was around the same time the internet became a force to reckon with, which may have given the little magazines the boost they needed. “Most little magazines have their own Facebook page so that readers can keep track of the latest editions,” says Kavita, an avid reader of the little magazines. Many publications upload the magazines which are accessible a week or two after their print release. In addition, a wealth of older magazines has been archived online, giving the reader a peek into the editions that helped shape the movement. Not supported by advertising or even an office to operate from, the little magazines depend solely on writing quality for patronage. Without newsstand support, they are couriered to homes, offices and libraries. Too often, the readers add their mite by writing back and that takes up much print space in any issue – a more closer readerwriter interaction than in bigger publications. Egos, personal attacks and splits have always been a part of the little magazine world that are often just meeting grounds for intellectuals. The veteran Kanthasamy, from his experience of over 50 years, says little has changed on that front. “A little magazine only tends to survive for about 4-5 years,” he says. And the internet has only widened the space for flame throwers, he adds. Nevertheless, little magazines continue to be training grounds for writers who get picked up by popular and middle magazines. “Little magazines will continue to train great writers or they will perish,” says Kanthasamy. With a limited appeal and shelf-time, the little magazine is a fire that needs to be sparked every now and then to keep it alive. very once in a while a film comes that tugs at the heart and speaks a language that transcends regional and geographical barriers; ‘Kaaka Muttai’ is one such work. A story of innocence, of desire unblemished by greed, where characters don’t grovel in sentimentality and poverty is no barrier to finding moments of happiness. ‘Kaaka Muttai’ is more an exception rather than the rule. Except for the occasional Mani Ratnam film that targets a pan-Indian audience or when subtitles have helped some movies reach out beyond Tamil audiences, Kollywood flicks rarely cross over. Observers say that what has worked for ‘Kaaka Muttai’ is that its theme is not culture-specific but contemporary and universal. At its core, the film is about the adventures of two slum boys in a world that is taking on a swanky avatar backed by moneyed entrepreneurs, shrewd politicians and loafing opportunists. The two brothers, both dropouts, wear their heart on their sleeves and don’t mind the squalor around them. The pizza is a metaphor for desire. They reach out to it, and just when we think they have attained it, the boys refuse to succumb to the lure of consumerism. They realize that the glitz on television has no value and they go back to life wiser but not weighed down by the experience. “Kaaka Muttai shows the effects of globalization in a metropolitan city. It critiques politics, media and reverses the quest for a pizza into a symbol of consumerism which is shunned at the end. The ending leaves an indelible impact and finds resonance with the middle class movie-going audience irrespective of their cultural background,” says Subagunarajan VMS, editor of the magazine ‘Kaatchi Pizhai’. The film walks a tight-rope and shows extreme restraint while handling the subject of class divide, the use of non-actors makes it closer to reality. It draws comparisons to the Iranian film ‘Children of Heaven’ but in Indian cinema it is probably closer to the Satyajit Ray classic ‘Pather Panchali’ which too used nonactors to capture the simplicity and purity of the characters. Observers note that while adapting other language films to a south Indian setting has been common and has worked since Balachander’s ‘Manmatha Leelai’, Tamil films making a mark beyond the south has been comparatively less in number. “In the history of Tamil industry, which has seen adaptations of several English and foreign language movies, crossover films are still comparatively new,” says Subagunarajan. Mani Ratnam’s ‘Bombay’ and ‘Roja’ did consciously attempt to be pan-Indian. In Bombay, the setting was intended to appeal to the mainstream Hindi film audience though the characters were of Tamil origin. In ‘Roja’, too, the characters were Tamil but the film dealt with the Kashmir problem and how an innocent Indian family was caught up in it. But BEYOND BORDERS: ‘Kaaka Muttai’ (top) and Mani Ratnam's ‘Roja’ are a few of the Tamil films that have appealed to pan-Indian audiences Mani Ratnam lost the plot with ‘Dil Se’ which was too formulaic. So what is it that makes a film attain universal appeal? While Mani Ratnam may have helped to bring in exposure at international film festivals, Tamil filmmakers have been largely unable to leverage that exposure by coming up with content that other audiences can relate to. Tamil films may boast of the latest in film making technique, production values, star cast and big budgets, such as in Shankar’s ‘Endhiran’, but those ar`e not enough always. “Only subjects that can be related to universally and are not restricted by regional traditions can work across borders,” says G Dhananjayan, founder of BOFTA Film Academy. Dhananjayan acknowledges that Mani Ratnam was the pioneer of cross-cultural themes. But Subagunarajan points out that ‘Raavan’ showed how he misjudged the northern audiences. In the south, because of its political education and Dravidian ideology, Raavan could be palatable as a hero with shades of grey but not in the north. “Hindi films have a wide reach and can never be consigned to a cultural setting. It is important that the story’s nuances are not culture-specific,” says Subagunarajan. COMPUTER & LAPTOP REPAIRS Ayurvedic/Thai Relax Massage.ct:8939367562 MULTIPLE VACANCIES SALES PART TIME JOBS EARN upto Rs.1000/-& More Daily by working Online in Free Time. 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