A WATCHLIST OF THE LEGENDARY STAR’S MOST MEMORABLE MOVIES AHEAD OF HIS NEW RELEASE VIKRAM
LEGENDARY actor Kamal Haasan makes a welcome return with big budget film Vikram.
He stars alongside popular stars Vijay Sethupathi and Fahadh Faasil in the dark Tamil action thriller, which will also have dubbed versions released in various other languages. The explosive film adds to an impressive body of work for the unstoppable 67-year-old cinema icon, who has been entertaining audiences ever since he made his debut as a six-year-old in 1960.
Eastern Eye got ready for blockbuster release Vikram by taking on the impossible task of preparing a watchlist of the actor’s 20 most memorable movies, listed in chronological order.
Apoorva Raagangal (1975): The visionary actor started taking risks very early in his career and that was perfectly illustrated by this unique cross-generational romantic drama. He plays a man who falls for a much older woman, while her daughter gets drawn to his father. The film won multiple honours, including a National and Filmfare South Best Film in Tamil. The portrayal resulted in him winning his first Filmfare Award in Tamil. Interestingly, it marked the cinematic debut of south Indian superstar Rajinikanth in a supporting part and was remade in Bollywood as Ek Nai Paheli (1984), with Haasan reprising his role.
Sigappu Rojakkal (1978): Another early indicator in the actor’s career as a leading man that he would do things differently was this Tamil psychological thriller, which earned him a fourth consecutive Filmfare Best Actor Award. He plays a suave serial killer in the film, which was later remade in Bollywood as Red Rose (1980) with Rajesh Khanna in the lead role.
Ek Duuje Ke Liye (1981): In 1978, Kamal Haasan had starred in Telugu film Maro Charithra and then reprised his role in the incredibly successful Bollywood remake, which elevated the cross-cultural romantic tragedy further. He stars opposite Rati Agnihotri in the story of two individuals from very different backgrounds, who fall in love. The film includes classic song Tere Mere Beech Main.
Moondram Pirai (1982): The actor won the first of his three National Best Actor Awards for his portrayal of a schoolteacher caring for an amnesia patient. He stars opposite Sridevi in the stunning Tamil language drama, and both would reprise their roles in hit Bollywood remake Sadma (1983) a year later.
Sagara Sangamam (1983): The Telugu language drama about a disillusioned dancer on a destructive path, who finds a ray of hope, won multiple honours, including best actor awards for Haasan. It would later be dubbed in Malayalam and Tamil, respectively, with Hasaan lending his voice to all three versions. The film would later inspire Telugu language drama Majili (2019), which used cricket instead of dance as the central theme.
Saagar (1985): The love triangle saw Haasan star alongside Dimple Kapadia and Rishi Kapoor. The actor made such a huge impact in the hit film that he won a Filmfare Best Actor award and gained a nomination in the Best Supporting Actor category too. The film would be India’s official entry for the Oscars in the Best Foreign Language category in 1985.
Swati Mutyam (1986): The actor delivered an award-winning performance in the Telugu film, which would also be India’s official entry for the Oscars in the Best Foreign Language category. The story of a simple kind-hearted villager with a low intellect, who helps a young widow, was remade as Bollywood film Eeshwar (1989) with Anil Kapoor in the lead and as Kannada drama Swathi Muthu (2003).
Nayakan (1987): The actor won his second National Best Actor Award for his stunning portrayal of a slum dweller, who becomes a feared gangster. The movie, which was submitted by India for the Oscars, was later remade in Bollywood as Dayavan (1988) with Vinod Khanna in the lead role. Nayakan would make it into Time Magazine’s all-time 100 movies list in 2005.
Pushpaka Vimana (1987): This film may not rank up there with the actor’s big blockbusters but deserves a place in his top 20 for its sheer inventiveness. The black comedy about an unemployed graduate who attempts to take over the life of a wealthy man broke all the conventional rules of a commercial Indian film and had no dialogues. That didn’t stop it from becoming a runaway success and winning multiple awards.
Apoorva Sagodharargal (1989): This Tamil language masala entertainer was another unique project that took Haasan way out of his comfort zone and won great acclaim, including a Filmfare South award for Best Tamil Film. He plays a triple role in the film, which includes twins separated at birth and one being a dwarf. The resounding success was later dubbed in Telugu and Hindi.
Thevar Magan (1992): The actor wrote, produced, and starred in this super hit Tamil drama, which was chosen by India as its Best Foreign Language Film entry for the Oscars. The story of a foreign educated man who wants to open a business in the city, but gets drawn into village politics would win five National Awards, including Best Tamil Film. It would later be remade as Bollywood blockbuster film Virasat (1997) with Anil Kapoor in the lead role.
Mahanadi (1994): The powerful crime drama would win the National Award for Best Tamil Film. Apart from playing the lead role, he also wrote the story of a widower whose life falls apart after being conned and his quest to make things right, including taking a bloody revenge.
Kuruthipunal (1995): Haasan wrote, produced, and starred in this hit Tamil thriller, which would be India’s entry for the Oscars. The cult classic about a brave police officer taking on terrorists was also simultaneously made as Telugu version Drohi, with him reprising the same role.
Indian (1996): Haasan would win his third National Best Actor Award for hit Tamil thriller and a Filmfare South Best Actor. India’s Oscar entry in the Best Foreign Language category that year saw him play the double role of an aging ex-freedom fighter turned vigilante and his own corrupt son.
Chachi 420 (1997): The actor headlined hit Tamil comedy Avvai Shanmugi (1996), which was a remake of popular Hollywood film Mrs Doubtfire (1993) and then reprised that same role for this stunning Bollywood remake. He plays a devoted father who will do all he can to spend time with his child after a divorce grants custody to the mother and disguises himself as a female nanny.
Hey Ram (2000): The actor wrote, directed, produced, and starred in this historical crime drama, which was India’s submission to the Oscars. The powerful drama revolving around Partition and its aftermath offers an alternate history of a disillusioned man, intent on killing Mahatma Gandhi, who goes on an emotional journey of redemption. The film includes a winning supporting role from Shah Rukh Khan, who agreed to do the film out of his admiration for Haasan.
Anbe Sivam (2003): There are some films the actor has done that deserve more credit and this Tamil language comedy-drama, hailed by some critics as a modern classic, is one of them. The actor stars alongside R Madhavan in the story of two men with contrasting personalities, taking an unexpected journey, and discovering important life lessons. The film was later dubbed in Telugu (Sathyame Sivam) and Hindi (Shivam).
Vettaiyaadu Vilaiyaadu (2006): Director Gautham Vasudev Menon delivered a successful police trilogy headlined by different actors and this second one featured Haasan in the lead role. He would win further Best Actor awards for his portrayal of a police officer trying to solve multiple homicides. It was widely praised for being an intelligent police procedural.
Unnaipol Oruvan and Eenadu (2009): Many of the actor’s films have been remade across the decades, but he has also stepped in for adaptations. This includes Tamil comedy Vasool Raja MBBS (2004), which was a great remake of Bollywood film Munnabhai MBBS (2003). His best remake was this clever adaptation of Bollywood thriller A Wednesday (2008). He stars opposite Mohanlal in the films, which were simultaneously shot in Tamil (Unnaipol Oruvan) and Telugu (Eenadu). They collectively managed to elevate the original movie of an anonymous caller who has planted bombs and the police officer on his trail.
Vishwaroopam (2013): It may have caused some controversy upon release, but that didn’t stop the spy thriller filmed simultaneously in Tamil and Hindi from being a big success. The Indian superstar wrote, directed, produced, and starred in the big budget film, which spawned the sequel Vishwaroopam II (2018).
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A seated Jain enlightened teacherAshmolean Museum, University of Oxford
Ganesha from JavaAshmolean Museum, University of Oxford
A Chinese silk painting depicting the BuddhaAshmolean Museum, University of Oxford
ArdhanarishvaraAshmolean Museum, University of Oxford
Head of a grimacing yakshaAshmolean Museum, University of Oxford
NagaAshmolean Museum, University of Oxford
The Bimaran casketAshmolean Museum, University of Oxford
Hunia Chawla
A still from rehearsal
Them performing liveNajmuddin Saifuddin Qawwal Group
The cast of Marriage Material in key moments from the play, including Avita Jay, Kiran Landa, Omar Malik, Irfan Shamji and Anoushka Deshmukh
Sathnam Sanghera’s 'Marriage Material' adapted into bold new play on conformity
The play Marriage Material at the Lyric Hammersmith Theatre is Gurpreet Kaur Bhatti’s adaptation of Sathnam Sanghera’s novel of the same name, which first came out in 2013.
She is lucky to have Iqbal Khan direct Marriage Material. The play, a co-production with the Birmingham Rep, is set in the late 1960s. Mr and Mrs Bains (played by Jaz Singh Deol and Avita Jay) run a corner shop in Wolverhampton. Their younger daughter, Surinder (Anoushka Deshmukh), is 16, her sister Kamaljit (Kiran Landa) is just a bit older.
They have a neighbour, Patwant Dhanda (Irfan Shamji), who, as we shall soon see, is not a very pleasant man. In fact, he comes across just as racist as Enoch Powell, who represented Wolverhampton South West for the Tories from 1950 to 1974.
It will be recalled this was a time when Sikhs working on the buses were told they couldn’t wear a turban. That was a hard-fought battle that had to be won.
The Bains, meanwhile, simply want to get their girls married off.
Nothing new here, I thought.
What makes the tale different is that the plot twists and turns down the generations. Mr Dhanda, who has the makings of a paedophile, makes a pitch for one of the girls when Mr Bains dies early in the play. “A life with no man in the house is no life,” he informs the newly widowed Mrs Bains.
Mr Dhanda has a wife but she has returned to India so he considers himself to be a free man.
Surinder’s English teacher from school, Miss Flanagan (Celeste Dodwell), who is also head of the fifth form, tells Mrs Bains about her daughter: “I don’t want to embarrass you, but she is bright. Ridiculously bright.”
She adds: “Mrs Bains, I think it would be a pity if Surinder didn’t stay on at school.” The initial response from Mrs Bains is not encouraging: “Too much education makes people’s brains get mixed up, they don’t sleep at night…”
But she is finally persuaded that Surinder should be allowed to stay on for a while longer before being married off.
Mr Bains was very old school. When Surinder confides she would one day like to be “a somebody”, he is amused that “my daughter wants to be a somebody”.
“Like you,” she tells her father.
Mr Bains consoles his daughter: “We will find a somebody for you to marry.”
At the point of a possible marriage, however, Surinder is sweet-talked by chocolate salesman Jim Wilson (Tommy Belshaw) into running away with him. They share a love of literature, and he calls her “Sue Bains”. But the relationship does not end well.
Once she has left, Surinder is written off as “dead” by her family. The story that is circulated is that she was only 16 when she was killed in a car crash. That’s better than to let on that she ran off with a white man.
By the time she is reconciled with her sister towards the end of the play, a great deal has changed. Kamaljit married Tanvir Banga (Omar Malik), a young man who helped out in the Bains’ corner shop. When the two sisters meet again, Tanvir has also died. But he and Kamaljit had a son, Arjan Banga (Jaz Singh Deol doubles up for this role after the death of Mr Bains). He has come home after his father’s death to help his mother who is still running the family corner shop.
Meanwhile, Mr Dhanda’s business has prospered. He now has a son, Ranjit Dhanda (the role is taken by Omar Malik after Tanvir’s death), and he is nearly as unpleasant as his father.
Arjan has an English fiancée, Claire (Celeste Dodwell). In London, Arjan worked as a creative director. But after deciding to stay in Wolverhampton to help his mother, he decides he cannot marry Claire because she is white. In other words, Asians are not free of racism, either. Happily, at the end, the couple are reconciled.
As for Surinder, she parted company with Jim Wilson after realising he was all talk, depended on her for money and had failed to earn a penny from his literary pretensions. She had prospered, though, as a hotel owner and had been transformed in time into a well-groomed businesswoman. After being tracked down by Arjan, she decides to return to her roots in Wolverhampton and help Kamaljit run the family corner shop. Perhaps 50 years had passed during the passage of the play.
Being subjected to racism turned some Asians into racists themselves. The word goreh (white person) is repeatedly spat out with venom. Maybe it is worth remembering the play’s audience isn’t exclusively Asian – white folk are watching as well. And maybe some of the toilet humour ridiculing white people, which always makes me cringe, could be cut out.
In Sanghera’s novel, there is a quote from Enoch Powell’s speech in November 1968: “The West Indian or Asian does not, by being born in England, become an Englishman. In law he becomes a United Kingdom citizen by birth; in fact, he is a west Indian or an Asian still... he will by the very nature of things have lost one country without gaining another, lost one nationality without acquiring a new one. Time is running out against us and them. With the lapse of a generation or so we shall at last have succeeded – to the benefit of nobody – in reproducing ‘in England’s green and pleasant land’ the haunting tragedy of the US.”
In Marriage Material, where the acting is marvellous (apart from Mr Dhanda’s Indian mannerisms and accent being overdone) we do travel across a couple of generations.
There is a scene when Tanvir rejects Mr Dhanda’s vision of creating a little Punjab in Wolverhampton.
Mr Dhanda wants to take over the Bains’ corner shop and is putting pressure on Tanvir to sign the papers. He says: “In this country, money is the path to freedom.”
“Sign, please,” he instructs Tanvir. “We must make sure our children learn to behave nicely, according to our rules.”
He insists: “We maintain our identity so we can be ourselves.”
Tanvir disagrees: “We can be us here. With the goreh.”
Dhanda warns him: “Then we will be inviting chaos.”
Tanvir’s comment is telling: “You sound like Enoch.”
Kamaljit, who is expecting a baby with her husband Tanvir, says: “I would like my child to grow up knowing the history of the Gurus and to read the Granth Sahib. And to love their culture.”
Tanvir tells his wife: “I would like my child to go to the finest schools, to cheer for England in the World Cup and eat Yorkshire pudding on a Sunday.”
Kamaljit sets out a dream that has perhaps come to pass with many third and fourth generation British Asians: “Maybe our child can do both.” Much, much later, in a throwback to the past, we learn of Surinder’s O-level results: “Biology A, Chemistry A, English Language A, English Literature A, French A, History B, Latin A, Mathematics A, Physics A…”
Kamaljit tells her younger sister: “Never mind about the B.”
And that is quintessentially Asian. Their acting is outstanding.
Marriage Material is at the Lyric Hammersmith Theatre until June 21, and at the Birmingham Rep from June 25-July 5