Vaazhaiஐ விமர்சனம் பண்ணா என்ன அடிப்பாங்க போல | Writer Charu Nivedita Interview | Filmibeat Tamil
#Vaazhai #VaazhaiReview #CharuVaazhai #MariSelvaraj #WriterCharu #FilmiBeatTamil
~PR.52~CA.294~ED.64~HT.302~##~
~PR.52~CA.294~ED.64~HT.302~##~
Category
🗞
NewsTranscript
00:00What is your problem or dislike in the film?
00:06I don't like the base of the film.
00:08He is a 7-8 year old boy.
00:12There is a scene where he is masturbating.
00:16He sees a girl taking a bath.
00:19That is the main reason.
00:21He says that it is like a soft porn film.
00:28Or he says that he is having an affair with his girlfriend.
00:32He says that he has to have an affair.
00:34He smiles and says that he doesn't want to.
00:40Any film is like a touch of a feeling.
00:44What is wrong in a film like that?
00:50If you watch a porn film, you will be touched.
00:55That is why people watch porn films.
00:59In romance, there are similar porn scenes.
01:04But the emotions are not expressed.
01:08It is wrong to be abhasham.
01:11What happens between the two?
01:13What happens between the teacher and the boy?
01:15Why don't you show that?
01:17That is abhasham.
01:19He says that you are as beautiful as his mother and sister.
01:24Is he looking at his mother and sister like that?
01:27No.
01:28It is not like that.
01:29It is not the mind or the body.
01:35I can't imagine a teacher in a village like that.
01:39I can't do it.
01:41You have done it on purpose.
01:43I have a daughter in 8th grade.
01:49She is very stubborn.
01:53She has a crush on the teacher.
01:59She has a crush on the teacher.
02:01She has a crush on the teacher.
02:06If you show that relationship like a leaf,
02:11Mari Selvaraj will be put in jail.
02:16Greetings to the viewers of Puneetiya Tamil.
02:18Charu Nivethan is here with us.
02:25Greetings sir.
02:26Greetings.
02:27They say that you are still watching Vaalai Padam.
02:32What is your problem with Vaalai Padam?
02:34What do you not like?
02:36I don't like the base of the film.
02:41There are two things.
02:45The 8th grader, Sivana Nayantham and the teacher.
02:59They have suppressed the love between them.
03:09The director has suppressed it.
03:12I call it suppression of sexuality.
03:15The 8th grader...
03:17In Inarithu's Babel, he is still a kid.
03:22He is only 7 or 8 years old.
03:25There is a scene where he masturbates.
03:29A girl is taking a bath.
03:32That is suppression.
03:34Either you can show that suppression,
03:37or you can leave that and choose something else.
03:43But in this film, there are two subjects.
03:48The teacher and the boy have suppressed their love for each other.
03:58He has expressed it in a passionate, fake way.
04:04But what's inside is purely sexual symbols.
04:08I'll give you an example.
04:10This film was very emotional for me.
04:15Nagisa Oshima is a Japanese director.
04:18He has made a film called In the Realm of the Senses.
04:21He says that if you suppress what is sexual,
04:28that is abhasham.
04:31If you show what is sexual, that is abhasham.
04:36What he does in this film is...
04:39It's all a kind of...
04:42What do you call it?
04:44Now, it's called a pedophile.
04:51He comes to a rice mill.
04:55There is a verse that the teacher says.
04:58It's a verse that appears in a soft porn film.
05:05He says,
05:07to a boyfriend,
05:09to a girlfriend,
05:11do you have to come urgently?
05:13with a green smile.
05:15Why should he ask that?
05:17Only a girlfriend would ask that.
05:19The teacher wouldn't.
05:21Do you have to come urgently?
05:24How do they enjoy this?
05:28They shouldn't show what is there.
05:32Whether it's incest or anything else.
05:35It's hypocritical.
05:39It's suppressing.
05:45It's very abhasham.
05:47It's very dangerous.
05:49It's very anti-social.
05:51Only by suppressing people like this,
05:54crime is increasing here.
05:57I was talking about a Japanese film,
05:59Nagisa Oshima.
06:01I saw it there.
06:03Even at midnight,
06:05if the last train had left,
06:07the girls would be lying on the bench in skirts.
06:12The train would leave at 4 in the morning.
06:15There was no sex crime.
06:19Because they are open.
06:21They talk about it.
06:23They show it.
06:25They suppress it.
06:27This is one objection.
06:30Another objection is that
06:32this is a very delicate subject.
06:35Exploitation is happening.
06:38Poverty.
06:39One rupee is the wage.
06:41If they give one more rupee,
06:43it's a big problem.
06:45Twenty people have died.
06:47If I suppress it,
06:49they will say I'm anti-social.
06:51I should be supported by my boss.
06:54What I'm trying to say is
06:56there is exploitation.
06:58There is no problem in seeing it.
07:07In the film, Nan Kadavul,
07:10the children are stolen from birth.
07:14It's been a day since they were born.
07:16They are made to beg in the streets.
07:22That's how the director
07:26exploits it.
07:28He says, look at this.
07:30Look at this.
07:32It's not an art.
07:34It's an exploitation.
07:36If you go to temples,
07:40when it's raining,
07:42they would come on their steps.
07:44They would sit like this.
07:46They would show off.
07:48It's all to earn mercy.
07:52He makes the people cry.
07:56Look at this.
07:58Look at this.
08:00This child doesn't have hands or eyes.
08:02It's a very delicate subject.
08:06Now, there are two things.
08:10I don't have an enemy like Mari Selvaraj.
08:12I don't have an enemy.
08:14I have praised Pariyerum Perumal a lot.
08:16This film, as a text,
08:18as a film,
08:20we are looking at it as a film.
08:22Immediately, the society
08:24stood up
08:26and attacked me.
08:28It was very hurtful.
08:30I want to talk about that.
08:32You have divided it into two parts.
08:36First, the relationship between
08:38the child and the teacher.
08:40In the beginning,
08:42you have divided it into two parts.
08:44In any film,
08:46there is a feeling.
08:48There is a feeling.
08:50Like that,
08:52what could be wrong
08:54in a film like this?
08:56There is a film called Romance.
09:00Catherine Brea, a French director.
09:02Look at that.
09:04If you watch a porn film,
09:08your feelings will be provoked.
09:10That's why people watch porn films.
09:12That's why people take porn films.
09:14But in Romance,
09:16there are similar porn scenes.
09:18But the feelings won't be provoked.
09:20Instead,
09:22there will be questions about it.
09:24Why is it happening like this?
09:26By making you question it,
09:28by making you think about it,
09:30this is the job of an artist.
09:34By provoking the feelings,
09:36it is a very delicate thing.
09:40Look at what happens in a porn film.
09:42What happens?
09:44There is a feeling.
09:46There is a specific feeling.
09:50In this,
09:52you don't do that either.
09:54You suppress it.
09:56You suppress it.
09:58You show it as a joke.
10:00But that is what you show.
10:02If you show it as a joke,
10:04it is wrong.
10:08In Romance,
10:10in that film,
10:12her husband
10:14doesn't have sex with her.
10:18That's why she goes looking for it.
10:20This is a raw problem.
10:22An obvious problem.
10:24There is no problem in this.
10:28What happens between the two?
10:30What happens between the two?
10:32Between the teacher and the boy?
10:34What happens?
10:36Why don't you show it?
10:38That is Abbas.
10:40When he says,
10:42this is my true story,
10:44or has it not happened in your life?
10:46If Nelson had shot him,
10:48how old would he be?
10:50Whatever it is,
10:52whether it is business or cinema,
10:54we can say anything.
10:56If he tells the truth,
10:58the society will say,
11:00are you such a bad person?
11:02Have you ever looked at a teacher with lust?
11:04The society will scold you.
11:06You say that everyone has it.
11:08Why does the society oppose it?
11:10Everyone has gone through lust.
11:12Everyone has gone through it at that age.
11:14That's it.
11:16This society is a hypocritical society.
11:20In my experience,
11:22in my 70s,
11:24I have interviewed
11:26a lot of girls.
11:28I have spoken to them.
11:30I have not met a single girl
11:32whose uncle, uncle,
11:34uncle, brother,
11:36cousin,
11:38cousin brother
11:40did not touch her.
11:42I have not seen a single girl.
11:44All the girls...
11:46One uncle,
11:48one uncle,
11:50one father,
11:52one brother,
11:54one brother
11:56sexually harassed them.
11:58These girls could not reveal it to their mother.
12:00Even after being told,
12:02the mother did not care.
12:04Recently,
12:06a 9-year-old boy
12:08saw porn sites on his phone
12:10and raped a 6-year-old girl
12:12and killed her.
12:14Her mother
12:16just covered up the situation.
12:18In such a society,
12:20it is hard to ascertain
12:22You are showing a lie.
12:24That is why I am not saying this is an anti-abhasa film.
12:28I am saying this is an anti-social film.
12:30But what society is doing is celebrating this.
12:34Sir, there could be a change in the way the society is accepting this film.
12:39You have a point of view that everyone has a point of view.
12:42But how can you say it so bluntly?
12:45Yes, because no one is saying it.
12:47Not a single person is saying it out of fear.
12:50Because the society is celebrating this film every week.
12:54How can we say it is a change?
12:58That subject is very delicate.
13:00I have never been afraid of anything like Jayakantan.
13:05He has never acted for Sivaji Ganesan in the film Parattu Vizhavalai.
13:13Because you have written a lot of novels, you have written a lot of politics.
13:24Even though you have written a lot of things,
13:26the public thinks you are a sexist.
13:31That is why you think this is happening.
13:33That is why you are saying it so bluntly.
13:36Rather than approaching it like that,
13:40as I said in the beginning,
13:42why is the society celebrating this film?
13:46When we review this film,
13:48why do we think that it is a change?
13:53Let us investigate this in detail.
13:57There is a book called Mass Psychology of Fascism by Eric Fromm.
14:06Mass Psychology of Fascism was written by Reich.
14:13Eric Fromm wrote Anatomy of Human Destructiveness.
14:18Why does the human society get involved in destruction?
14:24This is one reason.
14:25This is Eric Fromm.
14:27Mass Psychology of Fascism was written by Reich.
14:33Wilhelm Reich.
14:34What do these two people say?
14:37Love for the strong.
14:41They divide people's emotions in two ways.
14:44Love for the strong.
14:46Hatred for the weak.
14:48Cinema is strong.
14:51Literature is weak.
14:53Why?
14:54He shot this film.
14:56It cost 7 crores.
14:58In just 10 days, it cost 70 crores.
15:01In just 10 days.
15:02This is not even possible in Ambani's business.
15:05This is strength.
15:07Cinema is a strong medium.
15:11Writing.
15:12If you write a novel,
15:14it will sell 200 copies.
15:17I will get a royalty of 10,000 rupees.
15:19A beggar gets less royalty than a writer.
15:25So, he is weak.
15:27There is a powerlessness in the lower middle class.
15:32There is no power for the lower middle class.
15:36What authority does he have?
15:38He has no authority.
15:40When he gets a chance,
15:42as I said, hatred for the weak.
15:45Who is weak?
15:47Hit him.
15:49This is what happens in fascism.
15:52When you hit someone,
15:55you get a power.
15:57That's why.
15:58Cinema is a strong medium.
16:01If they like something,
16:04it can be anything.
16:06It can even be Abdul Kalam.
16:09If they like it, it's okay.
16:11It's an icon throughout India.
16:13Cinema is like a religion.
16:15There are gods like Rajini, Kamal, Vijay, and Ajith.
16:21The directors are Bharathiraja, Mani Ratnam.
16:25Mishkin is not the only one.
16:27Since he is the one who destroys the gods,
16:31he is the god.
16:33Because he criticizes himself.
16:38So, there are gods.
16:41The new god is Mari Selvaraj.
16:44Mari Selvaraj is being attacked.
16:47He is our icon.
16:49It's only for 10 days,
16:51but he is our icon.
16:53Why should we arrest him?
16:55In Shakespeare's play,
16:58they go in search of the murderer.
17:03I forgot his name.
17:07What's your name?
17:10Tell him it's an X.
17:13We go in search of the X.
17:15He is the one.
17:16No, he is a poet.
17:17So, I hit him right away.
17:19Poet means hit him right away.
17:21There is no interrogation.
17:23Since it's in Shakespeare's play,
17:25I hit him when he writes.
17:27Let's come to the second part.
17:29He turns the pain into a business.
17:32We watch a lot of English movies.
17:34Many of them are war related movies.
17:37Like how Jews were suppressed.
17:40Second World War.
17:42It's a reality check.
17:45When we see how they have suffered,
17:49we feel sorry for them.
17:52We feel sad for them.
17:54There is a problem here as well.
17:57They have been suppressed.
18:00That's how it is.
18:02You can view it that way.
18:06I am a cinema lover.
18:09Pariyerum Perumalam.
18:12Many people didn't appreciate it.
18:15I appreciated it a lot.
18:17He is a director I like.
18:20I went with a positive vibe.
18:24Even then,
18:27the second part
18:30convinced me.
18:33Not only that,
18:36he earns a lot of money.
18:39I told you about the temple incident.
18:43His entire body is bruised.
18:46He is bleeding.
18:49It's true.
18:52It's not a lie.
18:54He is not pretending.
18:56He is showing it and begging.
18:59When you make a film out of it,
19:04it has to turn into an art.
19:07There is a small twist in it.
19:11If you ask me how,
19:14I will tell you only one thing.
19:16He is a pianist.
19:18There is no sorrow in it.
19:21What?
19:23It's a pity that no one can play it.
19:26It's so cruel.
19:28Similarly,
19:30in Kizhavan Mani,
19:32there are 40-50 people.
19:36In this film,
19:38there is an accident.
19:41It's a brutal accident.
19:43It happens because of the boss.
19:45It happens directly.
19:47He has set it on fire.
19:49I told him to die.
19:51You can make a film out of it.
19:53When you make a film,
19:56you may get angry.
19:59You may get angry.
20:02It's not wrong to instill emotions.
20:05Why are you acting without instilling emotions?
20:09You didn't show it properly.
20:11I took the subject of instilling emotions.
20:13Why are you acting?
20:15There are songs about lust.
20:20In Carnatic music,
20:22they sing about devotion.
20:25Don't do that.
20:27Take lust as lust.
20:29In that, there is devotion,
20:31romance,
20:33a teacher,
20:35a son.
20:37What kind of relationship is that?
20:39Are you kidding me?
20:41Mani has said that you are beautiful like a mother.
20:45He is looking at a mother as a sister.
20:48It's not like that.
20:50It's not the mind or body.
20:52Why do you make everything sexual?
20:55The head,
20:57sitting in front of a moped,
21:01the dialogues are all about girlfriend and boyfriend.
21:05Another important thing is
21:07how are all the village girls there?
21:10How is his mother?
21:12How is his sister?
21:14How are the other village girls?
21:16Why does this lady come there as a sex symbol?
21:20Even though she is from the city,
21:23from Madras,
21:25she has come to work.
21:27I can't accept such a teacher in a village.
21:31I can't even imagine.
21:33The director has done it on purpose.
21:36On purpose,
21:38to make it a sex symbol,
21:41you have given a girl as a sex symbol.
21:45Is it a lie?
21:47There is no such teacher.
21:49It's okay if you have taken it on purpose.
21:51You have hidden it.
21:53You have hidden it.
21:55Another big objection is
21:58there is a male teacher like this.
22:01There is a girl in the 8th grade.
22:04She would shake her head.
22:06She would ask her to come to the mill.
22:08She herself is in a crush.
22:11Some people have a crush on teachers.
22:14They would say,
22:16Sir, you are very stylish today.
22:19They would be like that.
22:21If you had shown such a relationship,
22:25Mari Selvaraj would have been in jail.
22:28He would have taken a pedophile movie.
22:32Is that okay?
22:34If it is a male, you would have put him in jail.
22:37If it is a female, you would have forgiven her.
22:39You don't know anything wrong.
22:41What kind of logic is this?
22:43In the end,
22:44you said in this interview
22:46that you don't want to think that
22:47you are talking in favour of them.
22:50But you have written it in such a way.
22:53Today, if a person is in a situation,
22:56he cannot call people to work.
22:58Yes, yes.
23:00If he earns 100 rupees a week,
23:02he will do it.
23:04It is not right to give money to them
23:06and call them to work.
23:08You often show a Senkoti.
23:11There is a symbol of Arivazh Suthiyal.
23:15It is not something you forget.
23:18It is not that he died due to a loss.
23:21It is not something that you forget.
23:24It is a very scary symbol.
23:27It is only 1 rupee.
23:29It is only 1 rupee.
23:31And you ask for 2 rupees.
23:33It is not 30 to 31 rupees.
23:35It is only 1 rupee.
23:37And you ask for 2 rupees.
23:39But today, 25 years have passed.
23:41What has changed?
23:43You cannot just tell a story
23:46based on history.
23:49If you have a farm today,
23:52the owner has to commit suicide.
23:55Because even if he gives 100 rupees,
23:58there are no workers today.
24:01Otherwise, you have to come down from Bihar.
24:04If you really want to talk about exploitation,
24:07you have to come from Bihar.
24:10I have just shifted to this house.
24:13There is a huge bureau.
24:15One person is carrying it.
24:17He cannot even carry a cow.
24:19He is carrying it like that.
24:21When he was telling me,
24:23I saw blood coming out of his eyes.
24:26He said, it was 75 kilos.
24:28In 2 months, it has become 55 kilos.
24:31No one has ever paid for their exploitation.
24:35You can pay 7500 rupees.
24:37Yes, you can pay for their exploitation.
24:39Take that film as a contemporary.
24:43Today, the owners are committing suicide.
24:46Even the small owners are like that.
24:49People who have a farm,
24:51people who have a tent.
24:53Biharis don't come there.
24:55If you have a hotel, they will come.
24:58City workers are like that.
25:00Today, everything has become very complex.
25:03If I don't get workers today,
25:06they don't have a bungalow.
25:08They need a quarter.
25:10Somehow, they get it.
25:12They don't have a ration shop,
25:14so they give it for free.
25:16If you don't get workers today,
25:18they might not come to tell you
25:20that they didn't get a job because
25:22they didn't get a good job.
25:24Or their children or the next generation
25:26might have gone to the next generation.
25:28Because of this, the number of workers
25:30might have decreased.
25:32This is something that happens
25:34in everyone's life.
25:36It didn't happen in everyone's life.
25:38The children of so many fishermen
25:41have become officials.
25:43There is such a thing.
25:45Because their income
25:47might be more.
25:49But there is a quality in life.
25:52It is called the culture of poverty.
25:56Poverty of culture.
25:58Culture of poverty.
26:00There is a culture called poverty.
26:02Even if they get money from it,
26:04their generation,
26:06their children,
26:08how many people in IIT?
26:10Only if you are not in IIT,
26:12you won't get it.
26:14Efforts are being made.
26:16Efforts are not being made.
26:18Because such movies,
26:20such lies,
26:22are not happening at all.
26:24The upper class is still the same.
26:26The lower class is still the same.
26:28What I am saying is different.
26:30Today, at least that day,
26:32if you study in a street lamp,
26:34if you study in a street lamp,
26:36there are only a few.
26:38In our family,
26:40we are a family like this.
26:42We are like the Sivanayantham family.
26:44I studied in a street lamp.
26:46Everyone else is still
26:48circling around a lamp.
26:50No one has come forward.
26:52So,
26:54out of 10 people,
26:56one person studies in a street lamp.
26:58Today, the work,
27:00the values,
27:02are not there at all.
27:04In our generation,
27:06if we get money, it's enough.
27:08We all have some
27:10Dravidian policy,
27:12Dravidian politics.
27:14Before that, we had freedom.
27:16We had some ideology.
27:18We had ideals.
27:20We had values.
27:22I am not saying that society is bad now.
27:24What is your value today?
27:26I am asking you.
27:28So, nothing has evolved.
27:30It's stuck.
27:32For that, this film is
27:34like a chandelier.
27:36How society is falling behind.
27:38That's how it is.
27:40You are making a remark,
27:42but it doesn't sound like a remark.
27:44What would you like to say
27:46about that?
27:48Freedom of opinion.
27:50I praised Periyar and Perumal.
27:52Why did you make me a statue?
27:54Why did you garland me?
27:56Why do I have a problem with this film?
27:59I have my own opinion about this film.
28:02If you get into violence,
28:04what difference will it make for you?
28:07I don't know.
28:09Thank you so much, sir.