Or what I found when I kept Vettaiyaadu Vilayaadu and Thanga Pathakam side-by-side
Even the meanest of Gautam Menon critics (some of whom, write for this website-gulps) will agree that the “kanna nondi eduthaanga da” opening sequence is among his best.
It also presents a good template for us to study hero introductions.
Hmm, then I found something, from a 1974 film.
The Open Challenge
“Bring me the eye of DCP Raghavan!”
Vettaiyaadu Vilayaadu (VV) begins with Royapuram Mani, who would never appear again in the course of the movie – putting out an open challenge after being pushed to a corner by the police specifically Raghavan.
He wants to run his ‘business’, but of course he cannot do it with Raghavan giving him the heat around the corner. Mani needs Raghavan dead- no, he wants more, he wants his eyes.
Good setup, so now we know who our hero is and what his goals are without even showing him- and close.
“Bring me the head of SP Chowdary!”
25 minutes into 1974’s Thanga Pathakkam (TP- to pronounce it properly go here); director P Madhavan is faced with a challenge- how do I reintroduce the hero?
As I said 25 mins of the film has already run its course, the usual familial introductions have been made- including the wayward son, the doting wife and the family friend around whom the movie would revolve.
Probably P Madhavan feels the present state does not give enough ‘weight’ to Sivaji’s character- so I hope he would have asked the writer Mahendran ( who would later make Mullum Malarum, yes that Mahendran) to come up with another introduction.
Here too there is a character who never appears again in the form of legendary villain actor RS Manohar-but the difference is he wants SP Chowdary’s head.
The Point Of Entry
Both Madhavan and Menon keep it simple here, just them heroes occupying the frame shot from below- memorable in each case. A point of detail is that Kamal kicks the gate open (which would again allow a nice cycle back to ‘gate a moodra’ later)
Let Them Talk
The impact is in the action, but the build-up is always in the words. Both our heroes are unarmed when introduced, while Chowdary mentions it, Raghavan hands over the only knife he brought to Royapuram Mani.
Normally one would expect Sivaji to win this hands down, he is after all the most gifted when it comes to dialogues, but sadly I believe as this could be a hastily written scene- it is more “Aeis and Deis”, which belong more in the cinema of today. But maybe SP Chowdary is more brute force than brain force.
There is a half hearted attempt at humor and then Manohar gives in immediately but the good thing is, Sivaji gets to slip in a “tholachuruven badava” before the final fight.
Raghavan on the other hand is shooting bullets like line starting from the just-like-that “en kannu venumnu kettiyam?” then easily evoking one accent from his many to give us “ romba thondru panraan” and pausing to make a lol worthy comment on Royapuram Mani’s arithmetic skills.
My personal favorite is of course to the other assembled goons, “neengellam vera vela paathukonga pa”
Kamal is in quipping best, the dialogues and the camera always on him, half the screen is Raghavan’s face only- really makes the movie worth watching, although his quipping reduces considerably.
The stuff we have been waiting for, one man against an entire set- in Thanga Pathakkam it becomes a silambam fight while Vetaiyaadu keeps it hand to hand in a contained location before going for an opening song and sets the ball rolling.
Same introduction template. But two completely different movies.Tweet
Side by Side
Often we see how new filmmakers take time and pay homage to an earlier film or filmmaker, entire podcast episodes are dedicated to this, but I wouldn’t know if Menon is paying homage to Madhavan. A director cannot cross a tamil cinema police movie list without Thanga Pathakkam- it may have come to his notice or suggested by an assistant with an encyclopedic mind- and there is the question of Kamal being in the movie itself.
But it is practically the same narrative structure for introducing a cop hero-maybe both Mahendran and Menon borrowed from a common source.
It doesn’t really matter, what matters is that these things strike out or should I say leap out from the screen and what I have left is this confidence of a slight bond. It is a difficult feeling to describe, something like discovering an entire new branch in a family tree.
Watching movies and seeing other movies in them is by itself a rewarding feeling-makes me feel like a small shareholder in the big scheme of things.