Varavelpu (1989)

Having the best intentions and hard work to match it, doesn’t ensure good results, especially if you are a simple and honest person. Muralidharan finds this out the hard way in the movie ‘Varavelpu’.

‘Varavelpu’ is about a sincere and honest gulf-returned Muralidharan (Mohanlal) who pours all his savings into a business and struggles to keep it afloat. His seven years of labour overseas, helps the careers of his elder brothers, but when it comes to returning the favor, they back out. His sisters-in-law, who compete to serve him lavish dishes upon his arrival, quickly downgrade him to rice gruel. Left stranded, he is forced to fight a system that is callous to new entrants’ travails and progressive thoughts.

Though this movie is set against the social political background of Kerala in the late 80s, it still mirrors the current problem of entrepreneurs and small business people. Everyone dishes out free advice but do not step forward when things go south for the individual, and worse still, pursue their personal agendas at his expense. Union Leaders, Local associations etc, do not offer any assistance and even hinder the efforts of a few helping hands like that of the mediating labour officer.

Mohanlal shines in a character, that allows him to play its various shades of innocence, frustration and finally a stoic realization. The way he internalizes all that happens to him and conveys with a simple smile or smirk, is a treat to watch.

The Getaway (1972)

The Getaway (1972)https://www.instagram.com/p/CPo7l8FDYyY/

As they say a movie is made at the editing table. One can straight away see the brilliance of it, right at the beginning of the movie–‘The Getaway’. Just in a few minutes, the mental condition of the lead actor (Doc-Steve McQueen) is exposed and so is his adversary, set against the mundane prison conditions. If in the initial phase of the movie, we get to see how ordinary day to day stuff can be presented so strikingly, towards the end, the climax is anything but normal. But once again, the editing brings in so much to the gun fiesta that Steve McQueen hosts and makes sure he leaves no prisoners.

‘The Getaway’ movie gets away with quite a many faults and controversial themes, dipping into the fountain of the terrific screen presence of Steve McQueen. Rest of the contribute whatever they can, to the vision of director Sam Peckinpah–his style overtaking the substance.

Related links

Steve McQueen-a-palooza: Sam Peckinpah vs. Steve McQueen, and The Winner Is…?

In the Line of Fire

It takes courage to play one’s age or near about on the big screen, especially for a global superstar. Clint Eastwood does it with élan, in ‘The Line of Fire’. He was 60+ when the movie was made and he plays a 50ish character in the film.

There are two ways to play an ageing hero, either ignore the age completely and do one’s regular gig (shoot to kill, song ‘n’ dance if you are an Indian star etc) or completely surrender to the typicality of the age in question to bring in the believability. Clint Eastwood takes the middle path. He brings to the fore the struggles of the age and the overcoming of it in the character of Frank Horrigan, while still displaying the heroics required. This allows him to be a human, and blend those aspects into storytelling.

Mind you, his age always hovers around him, when he is out of breath during the chases, or when he is hesitant about his chances of winning the heart of his fellow officer, but it is the effort that his character puts in and emerging as a winner that makes him a hero eventually. It’s a slow and steady path, much like his career graph over the years. In short he takes the ‘lambi race ka ghoda’ approach and not the effortless gunslinger we are so used to seeing him in the westerns and cop movies. But he still delivers his goods in the end.

This movie also servers a pointer to our Indian superstars who so easily get carried away by Sylvester Stallone kind of Expendables, aka Wild Dogs that allows little variety in storytelling. Instead they should look at Clint Eastwood, Robert Redford and Paul Newman to pick the characters that allow some backstory and sub-plot/s, which creates opportunities for drama, comedy etc, or display the strengths/features the audience associate them with.  More like a diversification showcasing their original traits in a sublime manner or as a theme and weaving the so called ‘new’ around it. Otherwise why should a famous star do it, instead of the part going to a newcomer?

Both ‘In the Line of Fire’ and ‘Wild Dog’ are streaming on Netflix.

Tail Piece 1: My father used say a middle aged actor would look very handsome as an old person, like Sanjeev Kumar in Aandhi etc. The reverse if often very difficult.

Tail Piece 2: The best way to show an old actor in flashback is not to show him at all. Like Sean Connery in ‘The Indiana Jones and the last Crusade’ where he chides the young Jones to speak in Latin.

ET, IT…and the rest