What Rajni can146;t

Vasantha Balan8217;s Veyil Sunlight, the first-ever Tamil-language entry to be officially screened at the glitzy Cannes Film Festival; Radha Mohan8217;s Mozhi Language, about a deaf-mute girl8217;s yearning for love; Ameer8217;s Paruthi Veeran, about a village ruffian; and Venkat Prabhu8217;s Chennai 28, about gully street cricket, ran for 100 days each. More significant, they raked in big bucks. These low-budget films, with newcomers, villains or comedians as heroes and storylines inspired by real life, had one common thread 8212; critics categorised them as 8216;different8217;. Of the 105 films

released in Tamil Nadu last year, there were just a handful of successes.

Imsai Arasan and Veyil were among the few hits.

In a year of the much-awaited Sivaji 8211; The Boss, the costliest flick ever to be made in the country, these small, defiantly unconventional films are continuing to make considerable impact on Tamil movie audiences with storylines set in familiar pastoral milieus or in easily identifiable middle-class households. Tamil moviegoers suddenly appear to have acquired a taste for realism. 8220;This is a good sign. Any change is,8221; says director Vasanth, whose oeuvre includes such hits as Keladi Kanmani Listen, My Dear, 1990 and Rhythm 2000, neither cast in the conventional entertainer mould.

In Keladi Kanmani, Vasanth cast playback legend S.P. Balasubramaniam as the hero opposite actress Radhika. The film clicked as much for its songs as for its strong story: a girl goes through emotional upheaval when her widower father falls in love with another woman. 8220;The audience for offbeat films is growing. Now it is for filmmakers to cash in and turn this trend into a full-fledged movement,8221; says Vasanth. The director is currently working on Sathum Podaathay Don8217;t make a noise with Nitin Satya, the rather ordinary-looking young hero of Chennai 28. 8220;It8217;s a Shakespearean tale with a Hitchcockian twist,8221; says the director.

In Chennai 28, still running to packed houses in urban centres, director Venkat Prabhu uses 8216;unglamorous8217; newcomers. The film captures the spirit of gully cricket, transporting it from corporation playgrounds to celluloid. Chennai 28 might be a David compared to the big-budget, Goliath-like Lagaan, but the small Tamil film titled after the pincode for Mandaveli in Chennai in which the characters speak a typical local slang is the clear leader this season. With its simple humour and realistic middle-class apartment settings, the film portrays the intense rivalry between two cricketing teams, Raja Annamalaipuram Sharks and Royapuram Rockers, representing different localities in Chennai.

The humour in Chennai 28 is mild, but it has touched a chord. Many moviegoers are coming back for more8212;to watch a team of children taking on the big bully Sharks.

Among the most talked about efforts of recent times is Veyil, which surprisingly ran for 100 days. Surprising because the hero was a 8216;villain,8217; Pasupathy, a stage artist who had more success doing negative roles in films. But Veyil pulled in the crowds because of the powerful acting of Pasupathy and a strong storyline about the bonding between two brothers. Set in rural Virudhanagar, the film was yet another gem from Shankar8217;s thriving production house. Balan says the story was taken from his own life.

Perhaps it is the realistic streak in these films that is luring the audience. Paruthi Veeran, reportedly loosely based on a true-life story, was one of the big hits of 2006. Ameer, who had made the equally unusual Raam a year earlier, directed the film. It instantly grabbed the interest of young movie buffs. Newcomer Karthi, brother of the more popular Tamil actor Soorya, won praises for his exceptional acting in the film. So did the heroine, Priya Mani. The story is about a village rowdy falling in love with a village belle. The enmity between their families comes in the way of their love. Nothing different perhaps in the story. But it was the simple narration and the unconventional appearance of the not-so-good-looking 8216;hero8217; that captured the audience8217;s imagination.

8221;I think people are getting bored of watching films where heroes do things that only God can do,8217;8217; says Radha Mohan, who directed Mozhi. Producers, he points out, have a large role to play in influencing the making of meaningful films. 8220;They now realise that there is an audience for realistic films.8221; Mozhi was a box office humdinger. A deglamourised Jyothika brilliantly portrayed a deaf-mute girl, and she was supported admirably by Malayalam actor Prithviraj and Prakash Raj, known for his well- honed acting abilities.

Says Sujatha Narayanan, executive producer of Duet Movies, which ankrolled Mozhi: 8220;It is years since we have had such a string of good films. This resurgence is reminiscent of the time when filmmakers like Balu Mahendra, K Balachander and Bharathi Raja reigned supreme. 8221; Away from the hype and hoopla of mega budget flicks, the industry and audiences alike are now embracing directors who dare to be different.

Until Imsai Arasan happened Kollywood had fiercely stuck to its safe formula of 8216;rowdy8217; or 8216;negative8217; heroes like Vikram, Vijay, Ajith and Arjun bashing up, even killing, the baddies. Seniors like Kamal Hassan also stuck to commercial themes, as was seen with the actor8217;s Vettaiyadu Vilayadu Hunt and Play, which had him opposite Jyotika and was released last year.

Imsai Arasan, which centred on Vadivelu8217;s comedy track for a good three hours, taught the industry a few lessons. Several 8216;different8217; films tumbled forth. 8220;Bollywood has been experimenting in a big way. So why not us? We have the talent, skill and technological expertise in abundance,8221; says Vasanth. The industry also quickly realised the virtue of newcomers or ordinary-looking heroes. Moviegoers were looking for substance and depth. That is what films like Mozhi and Veyil delivered in ample measure.

But director Sharada Ramanathan refuses to accept that the film industry in the state has changed. Ramanathan is fighting hard to push her Sringaram for release even two years after it was made. The much-acclaimed film, which has done the rounds of the international festival circuit, is yet to find takers at home. 8220;Only if there is a demand from distributors for different films would I accept that a change has happened,8221; says Sharada. While there is an audience for a new kind of cinema, the mindset of producers and distributors is yet to change, she adds.

Sringaram Dance of Love delves into the life of a devadasi who lived during the 1920s. First-time actress and classical dancer Aditi Rao plays the lead role. Sharada took three years to research about the Devadasi system that prevailed in these parts, using her long interactions with some of the surviving members as inputs for her film.

Srirangam has much going for it in terms of talent. Veteran Carnatic musician Lalgudi Jayaraman has scored music for the film. Madhu Ambat is the cinematographer, Thota Tharani has designed the sets and Saroj Khan is the choreographer. This is Sharada8217;s first directorial venture. Industry grapevine has it that actor Rajnikanth saw the film a month ago and was 8220;overwhelmed8221;. But that, sadly, hasn8217;t translated into a distribution deal yet.

There is, therefore, a fear that the present euphoria for good, different and meaningful films might fast dissipate. However, Narayanan is optimistic. 8220;It is like a wave. Sometimes a wave brings in a bottle with a message. Sometimes it leaves your feet dirty. But there is always the good wave that comes back again and cleans your feet. We just have to wait for it to come back.8221; The good news is: this wave isn8217;t going away anywhere in a hurry. It8217;s here to stay.

Chennai 28
Director: Venkat Prabhu
The surprise superhit, which takes its title from the postal pincode of one particular Chennai neighbourhood, is still running to packed houses in Tamil Nadu8217;s urban centres. Featuring little-known newcomers, it8217;s a doff of the hat to those who keep the spirit of 8216;gully8217; cricket alive across the city. The film8217;s real-life moorings and gentle humour struck an instant chord with the masses

Paruthi veeran
Director: Ameer
Following up on the equally unconventional Raam, director Ameer struck gold in 2006 with Paruthi Veeran, a tale of a rustic ruffian in love with a village belle. Nothing unusual perhaps, but the film8217; stylistic and visual chutzpah swept younger moviegoers across Tamil Nadu off their feet

Masai Arasan 23aam Pulikesi
Director: Simbu Devan
This low-budget laugh riot, with a comedian in the lead and gaudy props, proved the sceptics wrong. Everything was fair game for this quirkily titled film: politicians, cricketers, big brands and showbiz. People simply loved its defiant irreverence and voted for the film with their feet

Veyil
Director: Vasantha Balan
The offbeat, low-budget film, produced by Shankar of Sivaji fame, became the first Tamil-language entry to be officially screened at the Cannes Film Festival, after completing a money-spinning 100-day run in domestic theatres. It tells the moving story of the deep bonding between two brothers in a rural Tamil Nadu setting

Sringaram
director: Sharada Ramanathan
This critically acclaimed period film about a 1920s devadasi, made two years ago, has done the rounds of international festivals but, surprisingly, is still looking for takers at home