“Anbe Sivam”

Grade: You should figure it out by the end of this review!

 

“Anbe Sivam” is the best Kamal Hassan movie in quite sometime.  It is actually one of the best movies released in recent years.  This is the tale of Anbarasu (Madhavan) and NallaSivam (Kamal Hassan), two strangers who are forced to travel together from Bhuvaneshwar to Chennai due to various reasons, nature being one of them.  We get to realize that fate is another.  Though the movie has shades of “Planes, Trains and Automobiles” and “Forces of Nature” in structure, the similarity stops right there.  Artistes Kamal Hassan (the story and screenplay are also by him), Madhavan and dialogue writer Madhan combine forces to create a simple, down-to-earth, unpretentious and above all, ‘sweet’ movie that steers clear of all tamil cinema clichés and comes as an effort that not only goes in a new direction, but also has a new starting point, a new method of traveling and a new destination!  Call this the precursor of New Wave Tamil Cinema.

 

Anbarasu (he calls himself A. Ars) is an ad filmmaker who at first cannot tolerate NallaSivam, a good-hearted communist/atheist.  The former is hip, confident and to the point while the latter is loquacious and omniscient but also sweet and kind hearted.  80% of the movie’s running time focuses on the several small incidents that the two go through during the course of their journey, and how the two bring about a metamorphosis in each other by the end of their journey.  The flashback portions portray NallaSivam’s communist activities, his tussle with the company management (Nasser being the chief culprit) and his love interest (Nasser’s daughter, played by Kiran).

 

The movie has been given the tag of an art movie by viewers and reviewers alike.  This is like saying that “Nayagan” is an art movie just because it attempted something new.  This is no less entertaining than a commercial movie like “Dhil” and is no less profound than an art film like “En Uyir Thozhan.”  This movie is not only worth the price of your ticket (or your VCD rental!)…it is priceless.

 

Whoa!  Did I say ‘priceless?’  Is the film that great?  Well, the film as a whole is inseparable from the performances of its two lead performers. And that is priceless—Kamal Hassan and Madhavan give two of the most impressive acting turns I’ve ever seen.  The unique aspect of the performances is that neither would’ve worked without the other.  The two performers beautifully complement each other.  This is something totally new to Tamil cinema.  I’ve either seen one man shows like “Sornamukhi” or team efforts like “Aaha!” but seldom have I seen two performances that are meticulously created and beautifully balanced, thus creating two endearing personalities. 

 

The strength of the acting is such that we find it impossible to visualize anyone else in the roles of Ars and Sivam.  Kamal Hassan—boy, what can I say about this man?  He creates not just a character but a human being called NallaSivam.  In spite of his thick glasses, disfigured face and his limp, what stands out is his unassuming nature.  Kamal does not resort to any scene stealing tactics whatsoever-- no monologues, no extended sequences where he is the focus, no bursts of tear or anger.  It is one of Kamal’s most natural performances till date.  The genius in the performance is in making us relish small, short n’ sweet moments.  Watch his facial expression when Madhavan refers to him as his elder brother; or the scene at the hospital where he conveys all his expressions with one eye (everything else on his face is covered with stitches).  He closes his eye, opens it, tears flow out of it, his eye widens…wonder how he is in control of every tissue in his body!  A complete actor…but this film would’ve been incomplete had it not been for the efficacy of another performance—that of Madhavan’s.  This is not just Madhavan the cute, good-looking guy but Madhavan the actor.  After walking out of the movie I would NOT blame you if you ask, “What was so great about his acting?”  That is probably the perfect compliment for Maddy.  This is effortless, unaffected emoting at its best.  He is incredibly casual in the initial portions (phrases like “Its just not my day” and “I am Ars, not Anbarasu” are places where his innate charm comes into play).  The scenes at the 2-star hotel bring out his comic timing well (his reaction to his cell phone going bust is invaluable).  But it is after the flashback that he steals the spotlight from his much senior partner.  The blood donation sequence is the standout piece.  There is a very poignant image of the kid (seeking blood) reaching out to Madhavan.  He wonderfully portrays the change of heart and the way he is totally frank and honest about values like compassion and love is laudable and new to Tamil cinema that always gives heroes squeaky-clean characters.  Here the effect is greater because we see a good man (with imperfections), become a better person.

 

Having written about scenes where the two excel as actors, I have to also mention the scene where the two function best as a pair—it is the scene where the two are seated on a bench.  The way Madhavan makes a rude comment about Kamal’s looks, the manner in which the latter conceals his hurt, and the way Madhavan apologizes is so believable and charming.  I also love the way Kamal turns and realizes that Madhavan had stopped listening before he completed his sentence. 

 

The other positive aspect of the movie is that in spite of two brilliant performances, the others aren’t exactly insignificant.  Nasser, Kiran (looking very pretty and elegant, for a change), Santhana Bharathi (as Nasser’s sidekick) and Uma Riyaz Khan (as Kamal’s friend whose love for Kamal goes unrequited) all have good roles that make an impact at one point or another.  Nasser, in particular, gives an excellent performance.  I have great admiration for villains who bring their characters to life with humor, sans clichés and that’s exactly what Nasser does.  He is a seriously flawed person but still not a beast, and Nasser does a very good job of delineating this character.  This is one reason why a ‘villain’ character doesn’t seem awkward or out of place in this classy movie.

 

            Cartoonist Madhan—making his debut as a dialogue writer-- deserves a pat on his back for the naturalness and spontaneity that he brings to every scene.  He has several great lines (Kamal’s line about every good hearted person being a God is the pick of the lot) but none of it is unnecessarily dramatic or unrealistic.  Kamal’s rejoinder to Madhavan about the reason for lying about his past (“Manasum Nondaama Irukkanumilla”) is another very meaningful piece.  Kamal admitting that he is not just alone but also lonely is very affecting (Kamal lifts both his eyebrows along with silent tears to convey the emotion in his inimitable style).

                                               

            The technical crew of this movie is on par with the splendid onscreen performers.  Art Director Prabhakaran could probably be called the third hero of this movie.  The huge painting in Nasser’s office with all the hidden meanings is masterful.  And, the set for the site of the train accident is terrific.  Music Director Vidyasagar comes up with a haunting melody in “Poo Vaasam.”  The song picturization is beautifully done with Kamal and Kiran literally swaying to the tune, near the huge canvas.  Cinematographer Arthur Wilson comes up with a glorious shot on the banks of the river--the sun shining on the waters is a sight to behold.  “Ela Machi” is catchy, singers Kamal Hassan and Udit Narayan (their second pairing after “Kaasumela” in “Kaadhalaa Kaadhalaa”) making this thoroughly enjoyable.  But the theme song is the best with extremely meaningful lyrics by Vairamuthu (the now-famous line contrasting atheists and theists) and a mellifluous tune.

 

In this movie Madhavan…oops…A. Ars (!) says, “It’s just not my day.”  But “Anbe Sivam” made my day!