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The biggest movie star in India to have ever crossed over from television till date has to be Shah Rukh Khan. Talent tends to go places, and so the advent of television was a godsend for artistes itching to make the switch over to silver screen. It will be interesting to study how this trend evolves into the new decade. Names like Santhanam and Yogi Babu have been appearing in full-length comedy films this decade to try and undercut the limitations otherwise placed on their talents. However, a few comedians have been turning the disadvantage into their advantage. Kaipulla, as an entity, is far more successful than the film Winner, in which the character appears, ever was. people will say the film was not good,” Soori adds. But if the film is a flop, then it doesn’t matter how much ever I try to entertain people.

“Today, even if I utter four mokka dialogues and if the film is a hit, it won’t affect me. In comparison, this decade’s comedy sequences was largely hit or miss due to the evolution. The number of people who can actually recall the film’s title versus the number who can guess the name of Vadivelu’s character, when they see him on screen, is disproportionately in favour of the latter. The track is featured in a film called Vedigundu Murugesan. Here’s the thing about Vadivelu’s ‘Alert Arumugam’. Soori (C) with Vishnu Vishal (L) and Robo Shankar (R) in a still from ‘Velainu Vandhutta Vellaikaaran’ even in songs, filmmakers have started to bring the comedian in.” Except for fight sequences, the comedian is everywhere.

Today, if the hero has 50 days call sheet, the comedian has to give 45 days. The difference is that, back then, the comedian’s call sheet used to be three or four days. In those days, a comedian worked 45-50 films a year, but I’m only able to do two or three films more than what a Tamil film hero does.

But today, the comedian has to travel from beginning till end of the movie. The loss would only affect the hero and the producer. The success or failure of a film did not affect the comedian. They will shoot for three days and give 10 days’ worth footage. This meant that comedians’ roles too evolved.Īctor Soori explains it best: “During the days of Goundamani-Senthil and Vivek-Vadivelu, there was a separate comedy track. This decade saw an evolution in the way filmmakers fitted comedy into the average Tamil feature film. Except, the big difference is that they had a comedy track of their own. The same applies for N Santhanam (in his earlier avatar as a comedian) and the legendary pair of Goundamani-Senthil. Vadivelu as the character Kaipulla in the film ‘Winner’ In such a scenario, there enters a man spearheading a movement in Tamil cinema. Even the movies that vouched against caste practises never really addressed the grassroot-level problems, and invariably featured protagonists belonging to an upper caste.įilmmakers turned blind-eye to the politics of Dalit representation in cinema, and very few understood the importance of letting the oppressed speak. Let us address the elephant in the room: Tamil cinema has always been casteist.Ĭaste, as a system, has been treated like a theory in Kollywood - something that exists, but in a universe far from ours. All of which is to say that the farmers’ issue is the hottest sub-genre in Tamil cinema, and has become an easy gateway for filmmakers to package ‘valuable’ messages. In Boomerang, the makers dedicated an entire song for farmers titled ‘Desame’, which was advertised as ‘farmers’ anthem’. Viswasam, had Ajith Kumar essaying the role of ‘son of soil’, delivering lines about the pride of being a farmer - the duty was taken care of by Karthi in last year’s NGK, there was a subplot about farmers wherein Suriya played Nandha Gopalan Kumaran, a humble organic farmer. This year, in particular, has seen a cluster of movies that at least had a passing reference about the ‘ezhai vivasayi’ syndrome.