'Kaali' as Rajinikanth is called in Petta, is itself a name that he was given in one of his first outings as a hero - Mullum Malarum. It's not for nothing that even before Rajini appears on screen, we hear the song 'Vantha naal mudhal, intha naal varai' - it suggests that we're about to watch Rajini from those days and until now. And as we watch Petta, the fan in each one of us is soon playing a guessing game, figuring out which scene was influenced by which superstar hit. But what the director didn't tell us was that he would actually be borrowing even shots and themes from the star's earlier movies. The problem lies with the mindset of the industry-people and the audience and that should change.With this information alone, it was apparent that the mannerisms and style associated with Rajinikanth through his four decades in the industry would be used liberally across the movie. But the same question is being directed to someone when she works with kids.
Halitha Shameem, who directed Poovarasam Peepee in 2014, rued, “We don’t ask ‘why you are directing only romantic films’ to a director who churns out romantic dramas.
He had another interesting thing to say - how we have an exotic collection of literature and one way of finding good stories for children is to revisit our mother tongue. He, in fact, added how he got curious about Kaaka Muttai when director Manikandan had narrated him the script. The last time I met Dhanush, the actor had said he would focus on producing more children-based films. Pasanga (2009), Marina (2012), Thangameengal, Haridas and Thalaimuraigal (2013), Goli Soda and Enna Satham Indha Neram (2014), Kaaka Muttai and Pasanga 2: Haiku (2015) and Ezhumin (2018) bear testimony to it. Today’s kids want something more than a Chhota Bheem.”īut in the last 10 years, Tamil cinema has had considerable increase in ‘children’s films’ despite the dwindling audience. With many platforms and channels available, it is hard for us to keep up to their expectations. “You can’t fool kids with mediocre content.
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He admitted it’s hard to get kids to theaters and work on tailor-made content for them when they have homegrown competition already like TV channels, podcasts, Netflix and Amazon. So, someone needs to start so that it becomes a trend eventually - like how there were multiple ‘horror comedy’ films released during the same time.”
If some genre becomes a hit in Tamil cinema, there would be back-to-back projects in the same category. Also, there were films including Mazhalai Pattalam, Raja Chinna Roja, Bommukutty Ammavukku and Poovizhi Vaasaliley which brought in the family audience to theaters.”Ĭiting Avvai Shanmugi and Kannathil Muththamittaal as classic examples, the trade analyst told us, “During the late 90s, filmmakers directed movies that focuses on children’s world in an engaging way infusing other messages and ‘family entertainment’ values. Then, there’s Mani Ratnam’s Anjali - which isn’t really a ‘children’s film’. In 1984, there was My Dear Kuttichathan that turned out to be a massive hit, and we talk about the film even now as it was ahead of its time. He said, “Let’s go back to the 80s or 90s - there had been only a handful films that yielded both profit and the recognition. She puts in extra effort to make sure that I get the desired shot.” However, he smiled, “Kids may have mood swings, and you’ve to monitor them constantly because they don’t take care of themselves like adults do.”Īccording to a trade analyst, though films revolving around children get noticed easily, they don’t necessarily guarantee box-office success. For instance, take baby Sara (whom I introduced in Deiva Thirumagal) for example - she doesn’t like to see me dull. They live in the moment and have zero ego issues. What draws him towards working with kids? “It’s easy.
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