FRS: Kaatru Veliyidai

So we all know what an FRS is right? right?


-313: Narration, not just at the beginning but right through, in fact why show visuals, audio book release karo yaar.

Thiruvalluvar in his seminal work ‘On seeing movies in multiplexes’ has listed down the two things that are major deterrents to a favorable experience.

  1. Narration
  2. Screaming kids

Of course you cannot do anything about the second thing.

-100: Movie is dedicated to the soldiers of the Kargil war, but the setting doesn’t really seem to warrant such a dedication, most of the film is like a ‘come to kashmir, this summer’ kind-of tourism video

+22: Srinagar

+5: There are so many (numerous) tamil doctors in Srinagar that you can actually hold the next Solomon Pappaiah pattimandram* there

-22: Shot in Ooty, but director believes that we will believe it is Srinagar. Some people do.

+35: Everybody is beautiful, even in Srinagar hospital critical care unit. Life is beautiful.

+67: Pakistan as a therapeutic place, if their tourism department sees this then they actually come up with a campaign.

Sample: Rawalpindi Prison: where u can think in peace about your sins. water+food included in package

-5: to us, why are we going around this tourism board angle again now?

-50: For a film set in the midst of a conflict there is absolutely no tension, so why set in conflict?

The recently released Malayalam film Take Off is set in 2014 during the ISIS raid of Iraq and captures the period to unbelievable levels of excitement. Not comparing, just saying.

+21: Karthi for doing a role that is completely unlike what he has done till now, kudos and learns some lessons in the end.

+8.5: I smell the national awards that is going to be won for cinematography and production design esp the sarattu vandiyile sequence

-1: But how everyone knows the same dance steps yaar? Of course others would have prepared for Sangeet, but Rao Hydari and Karthi just came for wedding like few minutes ago.

-3: Now everyone will start celebrating holi along with their weddings.

-94.56: Dialogue


Venum…Nee Venum…Eppovume Nee Venum…..Enakku eppovume nee venum

Translation: Want….Want you…..Always Want You…..I Always Want you

…. here indicates one minute time gap

Audience Sample

Podhum…Idhu Podhum….please idhu podhum

Translation: Enough….this is enough….please this is enough


+11: yeoman service rendered by Mani Ratnam heroines to red cross medical camps across the country needs to be recognized

-34.98: Absolutely no point of having supporting characters, this is a big worry, why use so many actors and don’t give them anything to work with?

-92.7: RJ Balaji as the silent but well meaning creep, he looks like the guy who has enrolled in French literature special class so that few more people will accept him. Bring back the share auto RJB #We are waiting. Also he is the 147th Tamil doctor in attendance in the Kashmir Valley

+5:  No bactrian camels were harmed in the making of this magnum opus type of disclaimer we expected, also is this the pioneering tamil film that is the first to use bactrian camels? Wow hat’s off, sir

-50: Director thinks Pakistan-Afghanistan border is like Perungudi toll gate.

41: Director thinks Pakistani army will not check the pockets of those whom they capture

-107: Music director thinks anything can be background music and hence music neither memorable on its own, nor does it help the situation also

Love is supreme and all that, even in abusive relationships. 

“I am sorry. I am sorry. I am sorry. I am sorry”

Damn it, where is the scene where Karthi shouts, “Kaatru veliyidai kannammaaaaa!!!” We went to watch the film for that one second. Damn it.

This is answer to a long held fanboy fantasy question, “What if Mani Ratnam made a Gautam Vasudev Menon film” in-spite of our repeated reminders to fans that both were similar, they went and made the movie anyway.


All the best. Jugni O.


All numbers are arbitrary and irrelevant. FRS is a certified superficial venture.

FRS Team

The true story of a real fake

Too young to write a memoir, but this is too big an opportunity to miss out on writing on my history with quizzing. Unlike other notes, this is not a review of the film Brahman Naman which seems to have inspired this spree of quiz posts.

I started quizzing in middle school, not for some puritanical quest for knowledge but because my immediate friends were into it, but i had been a reader of fiction and a consumer of movies long before this, these still remain my core areas of interest.

Enough about me, quizzing is about answering a question; to be precise it is the feeling of answering a question.

Let me try and put that to paper: connection.

Yes, some sort of connection that a quiz master somewhere from someplace has asked something that you know, and when you are sitting as a team, when you have one piece of a jigsaw puzzle and your team mate has another and when it fits and you arrive at an answer, there is an instant connection: two streams of thought coming together to form another. These connections are multi-fold when you are working out multi-level connects and over-arching theme questions. It is something close to magic.

Or so I thought.

Around 2010, I started noticing issues, maybe I had been blind to them before: people were talking about ‘competencies’ and when that happens there is always an issue. I had very limited competencies and these hardly amounted to anything when you do an analysis of questions asked in quizzes and I was becoming a liability.

At one point in late undergraduate times, I was only identified with the questions I could answer: “india-ent”

It is not that I did not try, I too like an enthusiast started reading about things I did not have any interest about and managed to answer few questions as well. But I started to feel like a number one fake. Here began my life as a fake.

Meanwhile, quiz presentation circulation was just becoming a lucrative thing and it was only a matter of speed on the stage, a question of recollection from which slide, which city and which round, this question was recycled. If you had the memory, you had the mileage. There was no time to enjoy the feeling of answering a question.

But I did not stop. I went on to fake.

It did not feel organic, at least till then I had assumed that the ‘knowledge’ I had got was mine, the one for which I had been a seeker. This seemed heavily forced. You might argue ‘All Knowledge is Knowledge” but then it was not ‘my knowledge’ and ‘this knowledge’ I had gobbled up in anticipation so that I can spit it out during a quiz.

Quizzing was becoming more like engineering.

I did not enjoy it anymore, except for the few Tamil movie questions that would come up once in 50 quizzes. After a point when team mates were not exactly friends, and after years of just going through the motions I was convinced I should rid myself of this fake life, there was no point in it for me.

Or so I thought. (Part II)

In 2014, when I applied for the various collegiate committees in my B School, I applied for the quiz committee and not surprisingly got in as well. This is primarily because I was not ‘good’ in anything else and the next two years were spent in trying to get more college people into quizzing when I was trying to run away from it. Irony no?

But now I’m sure that I would not have fit in any other committee as well and this time I found some love in organizing a mega event and ask questions to those who had never been to quiz before.

Did they find pleasure in answering my questions, I would like to think they did.

But all this doesn’t discount the fact that I was a fake. A big one at that.

Answering questions in a quiz gives, I think an illusion of knowledge, you needn’t have a read a book or seen a movie or heard a song to answer a quiz question. And by answering a question about something you know nothing about, made me believe that I knew something about it.

Nopes, I didn’t know anything.

Partly I blame myself, for thinking that pursuing quizzing as the pursuit of knowledge itself. Quizzing is not knowledge, it is incidental in the pursuit of it, in fact it is even unnecessary, it is just another test which doesn’t prove anything. One can ‘crack’ a 40-slide theme of Poirot novels without reading any one of them.

It is possible, but for what joy, so that someone might clap for you. But that joy is nothing when compared to one achieved while reading a Poirot novel.

Dammit, why a Poirot novel, it could be anything. Anything that provides joy by itself is worth pursuing for that sake alone, if the pursuit involves the reactions of others it is absolute fakery (no such word, vocabulary score is 150).

Even if quizzing is a starting point for many new things (read as knowledge), I wish to take these things slowly, and nature I’m sure, will find opportune moments to teach me these things; gradually.

Knowledge does not reside in the hurry-mug before Landmark, nor in the ppts of quizzes I have never attended, even if there is some knowledge there, I don’t want it.

My life does not depend on how different figure skating is from ballet dancing.

On the issues plaguing quizzing and its clubs, much has already been written and I want this post to be about me and my fakery.

I don’t actively quiz anymore, my quizzing is restricted to a select few friends, we laugh around a lot more than we quiz, in fact quiz becomes secondary there, they also put up with my nonsense and the times we meet are like one WhatsApp group on fire.

During my de-quizzisation (no such word) I have seen many people who passively pursue their interests without having to put it on a stage. Men and women who have made significant improvements to themselves and to others by doing so and not aspiring a stage, or a clap or a pounce and bounce.


I have won quizzes before, quite some in college but never managed to qualify for a big ticket open quiz ever, so consider me like a minor Jake La Motta, an admirable failure.

Could I have been somebody?

Hehe. No, not in Quizzing.

I realised that I was a failure and in many ways fooling myself with delusions of knowledge. I cannot do much about being a failure, but I have decided not be a fake.


Anbe Sivam: What sort of design is this?

Something that I have observed during the course of this ongoing education called movie watching is that when characters are faced with loss or suffering or even an unattainable dream eventually tend to receive it in some form.

This as I see it, is to bring about balance to the character, the way in which this cycle happens can be as direct as a revenge drama or something as poetic and long drawn as Gollum losing it before the lord of the rings begins, only to hold it again in his last moments at the very end. 

It here refers to the one ring of course.

(My god what a precious arc!)

If there is loss, there is gain; unless we are watching some harrowing tragedy. Which is a different topic altogether


This loss and gain, of course I assumed was a part and parcel of story writing and very noticeable, and this can happen to supporting characters as well and when done well, resonates.

Let us now come to Anbe Sivam, one of the few things we know about ad filmmaker Anbarasu is that he is currently in love and had lost his brother earlier in a cricketing accident; this at face value seems like a backstory to explain his nervousness around bloodshed; the fact that a character has lost his brother and is now almost about to get a new brother didn’t strike me till today.

 (Slow mind eh)

Waitees, but Anbarasu doesn’t get a brother back!

His loss is not actually balanced, he almost gets a brother back. Difference, small yet key to this post.

Waitees again, we are still with Anbarasu; there is again a disturbance at balance. 

An unknown kid caught in a horrendous train accident and fortunately shares the same blood group as Anbu; the blood is obviously the connect here since Anbu’s brother’s bloody death was in many ways the biggest loss that Madhavan’s character has faced (or at least this is what the movie tells us)

In a usual film of course this would have been the balancing point, matching blood groups and saving the kid which will make Anbarasu overcome his fear and grow for the later part of the film.

Waitees, but Anbarasu does grow and become a different person through the course of the story but the outcome of these almost balancing points are exactly the opposite of the usual.
Nalla (Kamal) doesn’t stay and fill the void of a fallen brother nor is Anbu’s blood enough to save a boy’s life.

Summary: so you have a structure or a road-map , you almost reach the end but then turn the other way; this I see it as a way to introduce some amount of randomness, even if controlled into the story.

A point where the screen writer knows what should be done next if the film is to take its usual course, but doesn’t (want?) do it.

 I imagine at these balancing points, the writer putting down his hand on the table, hoping the pen would somehow write down the next few words.

It is amazing. Really.


I guess that this didn’t strike me on previous viewings because I was not looking for it and of course there are other very fulfilling  themes in Anbe Sivam which is why it has endured for me.

Small addition to this ‘aberration’ from usual is the name of Poun, which here denotes two characters, one of course is the street theater artist  who dies in the bus accident which also disables Kamal, and also the aforementioned small kid who mumbles the same name.

Again the lead comes close, but doesn’t quite make it.

Doesn’t quite get what he is wanting.

Important to note that Anbe Sivam is not a tragedy.

While loss is not balanced by gain, loss by itself is not tragic, whenever a character in Anbe Sivam gives away or loses something it feels heroic and it feels real because there is no return of this ‘giving away’ much like in real life.

Real life doesn’t have the comfort of a writer’s balance. Real life is really random but filled with common folk out there making choices beyond their imagination.

Maybe the film is about giving after all.How else would we experience Anbu?

Maybe, we are just over-reading as usual, let us know what you think.