Court verdict
This refers to the verdict of Karnataka High Court on the application of actor & politian Kamala Hassan for release of his film Thug Life in Karnataka State. The Court has aptly observed that a single apology could have resolved the situation. To be frank, whether the Kannada language was originated from Tamil or not is still a matter of debate.
But his statement itself was unnecessary. It may be true that Kamala Hassan might have said it without any malice and unintentionally. Still his careless speech has landed him and his new film in jeopardy, especially in Karnataka state. It is like a Tamil adage that 'Thavalai thane than vayal kedum,' and this is not the first time he has courted with such controversies, especially on the eve of release of his films. Sometimes too much knowledge and too much wisdom can become a double-edged sword. But in this case an unnecessary comment has caused a storm, that could have easily been avoided. Even now it is not too late. As averred by the Karnataka Court, he could follow in the footsteps of Sri Rajagopalachari, who too had tendered a public apology 75 years ago. Now it is up to him to obey the verdict of Karnataka Court or face the music.
Capt. N. Viswanathan,
Coimbatore, India
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Court verdict
This refers to the verdict of Karnataka High Court on the application of actor & politian Kamala Hassan for release of his film Thug Life in Karnataka State. The Court has aptly observed that a single apology could have resolved the situation. To be frank, whether the Kannada language was originated from Tamil or not is still a matter of debate. But his statement itself was unnecessary. It may be true that Kamala Hassan might have said it without any malice and unintentionally. Still his careless speech has landed him and his new film in jeopardy, especially in Karnataka state. It is like a Tamil adage that 'Thavalai thane than vayal kedum,' and this is not the first time he has courted with such controversies, especially on the eve of release of his films. Sometimes too much knowledge and too much wisdom can become a double-edged sword. But in this case an unnecessary comment has caused a storm, that could have easily been avoided. Even now it is not too late. As averred by the Karnataka Court, he could follow in the footsteps of Sri Rajagopalachari, who too had tendered a public apology 75 years ago. Now it is up to him to obey the verdict of Karnataka Court or face the music. Capt. N. Viswanathan, Coimbatore, India
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All writers draw on their experience, whether consciously or not, says Indian author Banu Mushtaq — including the titular tale of attempted self-immolation in her International Booker Prize-winning short story collection. Mushtaq, who won the coveted literature prize as the first author writing in Kannada -- an Indian regional language -- said the author's responsibility is to reflect the truth. "You cannot simply write describing a rose," said the 77-year-old, who is also a lawyer and activist. "You cannot say it has got such a fragrance, such petals, such colour. You have to write about the thorns also. It is your responsibility, and you have to do it." Her book "Heart Lamp", a collection of 12 powerful short stories, is also her first book translated into English, with the prize shared with her translator Deepa Bhasthi. Critics praised the collection for its dry and gentle humour, and its searing commentary on the patriarchy, caste and religion. Mushtaq has carved an alternative path in life, challenging societal restrictions and perceptions. As a young girl worried about her future, she said she started writing to improve her "chances of marriage". Born into a Muslim family in 1948, she studied in Kannada, which is spoken mostly in India's southern Karnataka state by around 43 million people, rather than Urdu, the language of Islamic texts in India and which most Muslim girls learnt. She attended college, and worked as a journalist and also as a high school teacher. 'Confused' But after marrying for love, Mushtaq found her life constricted. "I was not allowed to have any intellectual activities. I was not allowed to write," she said. "I was in that vacuum. That harmed me." She recounted how as a young mother aged around 27 with possible postpartum depression, and ground down by domestic life, had doused petrol on herself and on the "spur of a moment" readied to set herself on fire. Her husband rushed to her with their three-month-old daughter. "He took the baby and put her on my feet, and he drew my attention to her and he hugged me, and he stopped me," Mushtaq told AFP. The experience is nearly mirrored in her book -- in its case, the protagonist is stopped by her daughter. "People get confused that it might be my life," the writer said. Explaining that while not her exact story, "consciously or subconsciously, something of the author, it reflects in her or his writing". Books line the walls in Mushtaq's home, in the small southern Indian town of Hassan. Her many awards and certificates -- including a replica of the Booker prize she won in London in May -- are also on display. She joked that she was born to write -- at least that is what a Hindu astrological birth chart said about her future. "I don't know how it was there, but I have seen the birth chart," Mushtaq said with a laugh, speaking in English. The award has changed her life "in a positive way", she added, while noting the fame has been a little overwhelming. "I am not against the people, I love people," she said referring to the stream of visitors she gets to her home. "But with this, a lot of prominence is given to me, and I don't have any time for writing. I feel something odd... Writing gives me a lot of pleasure, a lot of relief." 'Patriarchy everywhere' Mushtaq's body of work spans six short story collections, an essay collection and poetry. The stories in "Heart Lamp" were chosen from the six short story collections, dating back to 1990. The Booker jury hailed her characters -– from spirited grandmothers to bumbling religious clerics –- as "astonishing portraits of survival and resilience". The stories portray Muslim women going through terrible experiences, including domestic violence, the death of children and extramarital affairs. Mushtaq said that while the main characters in her books are all Muslim women, the issues are universal. "They (women) suffer this type of suppression and this type of exploitation, this type of patriarchy everywhere," she said. "A woman is a woman, all over the world." While accepting that even the people for whom she writes may not like her work, Mushtaq said she remained dedicated to providing wider truths. "I have to say what is necessary for the society," she said. "The writer is always pro-people... With the people, and for the people."
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'Thug Life' is a gangster drama that's not so tough
Language: Tamil Rating: 2 out of 5 Nearly 38 years ago, Mani Ratnam and Kamal Haasan gave us Nayakan, the gangster drama made it to Time Magazine's all-time 100 best films and is often hailed as India's answer to Francis Coppola's The Godfather. As I stepped out of the theatre watching Thug Life, their latest collaboration, I just wished they had simply rehashed their cult classic and spared viewers disappointment. Thug Life tries too hard to be a lot of things — and ends up being tedious and predictable. A gangster drama, the movie captures the succession battle in a crime syndicate headed by Rangaraya Sakthivel (Haasan), with old Delhi serving as the backdrop. Hat-tip to cinematographer Ravi K Chandran for capturing the historical city in its full glory on screen. The movie starts with Sakthivel reflecting that death is his biggest enemy and that he has outwitted it on multiple occasions. In a beautiful twist of irony, we're immediately introduced to multiple characters who either want him dead or benefit from his passing. Early on, Sakthivel escapes a police shootout, thanks to Amaran (Silambarasan TR). In gratitude, he anoints him as his successor, leaving many long-standing members miffed. Eventually, Sakthivel becomes a victim of his success, often second-guessing and suspecting his aides, leading to friction. Watch out for the scene where Sakthivel, in a moment of contrition, apologises to Amaran, seated in a car backseat. 'Do you expect me to fall at your feet?' he asks. Ratnam reserves the best for Thug Life in its first half, for it runs out of steam in the latter. (For those unaware, Indian films are often divided into two halves sandwiched with an interval to boost sales at the theatre popcorn counter.) Generic, run-of-the-mill. Words you wouldn't normally reserve for his productions. What we get is a boilerplate betrayal and revenge drama. A character develops into an Oedipus Rex with not much payoff. The characters come in and go (Joju George, Ali Fazal, Ashok Selvan, Mahesh Manjrekar), as do the immaculately choreographed fight sequences, but they don't register on your mind as they ought to. However, where Thug Life falters the most is the portrayal of its women, bereft of any agency. Were there no women assistant directors to review the script and offer their inputs? Think Indrani (Trisha Krishnan), a woman who gets rescued from a place of abuse only to enter a gilded cage, or Jeeva (Abhirami), a woman who we're told had agency but gets a raw deal in life, and one can't miss that sentiment. This feels shocking for someone who gave us some memorable women characters on-screen — be it in 1986's Mouna Raagam, Dil Se (1998), the 2002 war drama inspired by a Time Magazine article, Kannathil Muthamittal. Or even Alaipayuthey (Saathiya). Even worse, excise most such roles from Thug Life and they may not make a dent on the plot. The sequence where Sakthivel gets the pass for adultery from his wife (Abhirami) with a mere apology didn't pass muster with me. The one female role that made a difference was that of Dr Anna (Aishwarya Lekshmi), but it deserved way more screen time. Forget Nayakan, Ratnam's 2018 gangster drama Chekka Chivantha Vaanam, which explored succession within a gangster family with the sons as claimants, felt more compelling. Thug Life' s writing feels underwhelming and takes the easy way out at crucial junctures. Oscar-winner AR Rahman's score and songs for the movie is one of its high points. The viral sensation Jinguchaa gets its pride of place in the movie, with the other, Muththa mazhai, edited out. We're told that this is one of Delhi's biggest crime gangs, but what do they do apart from moving in large numbers in SUVs around? Whatever happened to 'show, don't tell?'
