What do you do when you find a sea turtle egg…

While our planet is plundered by all of us, a few of us wage a war to save it. I was happy to be on the minority side for a night. The volunteers of the Students Sea Turtle Conservation Network, Chennai have been walking along a 7 km sea stretch every single night of the Olive ridley sea turtles nesting season. The arribada is roughly from January to March, every year. And the SSTCN team have been doing these walks for about three decades now. One segment of the walk typically starts from the Neelankarai beach and ends near the Adyar estuary. During the weekends, a shortened version of the walk (‘turtle walk’) is open for the general public. And that is how I ended up being on the right side for a night. There were about 20 others like me.
It was around an hour and half past midnight, when we rose up to embark on our walk. We had a good, elaborate sensitisation session prior to that. Just to make us more readily connected to the purpose, the SSTCN team had brought along a group of turtle hatchlings, to be left free in the sea water. These tiny turtles were from the early eggs of the season. It is a sight to witness the struggle and ultimate success of these babies as they crawl the beach sand, and guided by light from the torches of the volunteers as they begin their journey into the vast expanse of water, the sea. In any lot, there is that one smart and strong hatchling that desperately pushes the floor with its flippers, crawls across the damp sand, never loses sight of the light beam, braves the occasional fierce wave that topples it, and finally takes to the seawater and swims freely towards the horizon. At a deeper level that baby turtle took me to the realm when one brave and curious ape, very hesitatingly yet in need of something, left behind its group, got down from the tree branches and touched the land for the first time.
The sea turtles have a strong bonding with their places of birth, as wherever they swim, when it comes to the question of forming a nest and having children the females return to the very same nesting ground — from where it all began for them. I will be happy to welcome back the lucky ones from this lot.

These turtles are almost at the top of the food chain of the seas. They do get eaten up often by someone superior and hungry lurking under the salty, warm tropical waters. But the natural survival rate of oliver ridley turtles is abysmal, as only the luckiest one among one thousand hatchlings grows into an adult. These creatures also need ample doses of luck to escape the hands of humans that stretches into the seas. During the course of our walk, we came across a stranded carcass of a turtle. Most likely it got dragged by a fishing net under water for hours that did not make it possible for the olive ridley to come up for a breath of air. And eventually killed it.
More worrisome is the danger the shore line holds. One of us asked the SSTCN guys, ‘Are these Olive ridley turtles some endangered species or what?’. The reply was steeped in philosophy, though it was most practical and sensitive answer we could have wished for. ‘Other than the humans, all species on this planet are endangered’. Other than the usual suspects like stray dogs and poachers, the Chennai coast offers the nests the added problem of ‘development’. At some places along the coast, housing apartments are so close to the beach that you get a feeling perhaps these concrete giants were present even before the beach came into existence. As they break their shells from the inside, instinctively the baby turtles move towards light sources. In this part of the world, it could be the flood lights on the beach road, fancy lamps dangling from sea shore bungalows and light from the fishermen’s settlements abetting the high tide limits. In other parts of the world there are debates on the need for conservation of these turtles, and the efficacy of the efforts. It is fuzzy. Here, the response served with philosophy we got should serve as the lighthouse.
Once a while, our lives long for the presence of people who have surrendered themselves to higher purposes. I was lucky to have met a few such souls in one night.
The volunteers move with a single point agenda. To locate the underground nests and move the eggs to safe zones. These turtles come up the shores, make sub terrain conical nests, lay eggs that could be roughly around one hundred in number, cover up the place with beach sand, and dive back into the deep seas. The trained eyes are able to spot the underground nests by tracking the flipper imprints on the beach sand. Once identified, the experts deduce the exact depth at which the eggs are incubating, free of care for the world above them. Systematically, the nest is dug up and the eggs are collected. These eggs have soft, malleable shells. It is kind of surreal and strange to our fingers that are used to those eggs that need steel spoons to tap and break their shells. Soon, the spherical eggs are moved to a protected, natural hatchery on the same shoreline so that they don’t feel out of place.
In due course, the tiny babies that emerge are guided into the sea. And the cylce of life is made to go round — for one more time.

Petta (Movie review)

The Superstar is back. And how!


Semi-spoilers embedded. It takes an exceptional actor to convert even the little scope a script offers into a memorable performance. With Petta, Nawazuddin Siddique has cemented his position among the top acting talents of the country. The film offered him just one chance to prove himself - the scene where he reacts to the killings of the members of the opposite gang - and man! he has come out with  flying colours. Truly Siddique. And it takes an extraordinary level of stardom and mettle to raise above everyone else in the cast ensemble that includes stars like Vijay Sethupathi, Simran, Sasikumar and many more - and create waves of excitement among the fans. With Petta, Rajni has made it loud and clear he is still the Superstar of Kollywood. 

With a revenge drama core, Petta is about a college hostel warden, Kaali, whose smiles hide more than one mystery. Until about the interval the movie is mainly an enjoyable ride filled with many Rajni moments and some action. The star charms with his one liners (Nallavanaa iru, aanaa romba nallavanaa irukaatha), humour, style and stunts. But there is always an undercurrent similar to Baasha (1995) (just similar, but not intended to be anywhere near, though there is a smart dialogue reference to Baasha) about who Kaali was, and why he worked as a warden in a college atop the hills. The second half that has a sizeable flashback portion is terrific. 

There are a few scenes like the one where Rajni shoots and kills a person in a very odd setting (cannot reveal more here) and goes about it in a cool way, where the director sparkles. The scene recreates the magic of his earlier film Jigarthanda (2014). There is also episode that happens in a moving train where Rajni, the actor, shines. It is heart warming to see such moments on screen. And unlike the flashback portion in Kabali, where the age of the star shows on screen so much that even the director did not want us to see it as one full continuous episode, in Petta Rajni looks so fresh and fine as a young man. The swag is unmissable. The Superstar is back. And the good news is - he is all over.  


Trisha and Simran have roles that are just a bit longer than their portions revealed in the trailers. They have done justice to whatever they were doled out. The script does not bank very much even on Vijay Sethupathi. The motto seems to be - when you have Rajni, why do you really need anyone else? 

With wonderful support from the production design and costumes team, the DOP Thirunavukarasu not just captures beauty but also transports us to places wherever the story goes, be it a village or a hill station or an old town in Uttar Pradesh. Right from his initial years Rajni has blended humour with his stunts, the stunt director Peter Hein has kept the spirit alive. There are some 'mass' fights too. The script takes you into it so well that even when Rajni sprays hundreds of bullets in the second half you really do not feel odd. You know it is staged, it is definitely not real, may be implausible on screen too, but you enjoy it when Rajni does it in his way. 

Vijay Sethupathi (as Jithu) and Rajni have a few smart moments on screen as they get into a cat-and-mouse game towards the end of the movie. The climax is an amazing culmination of the game they play, and the moves they make. Topped with a peppy dance by Rajni for his song 'Raman aandaalum Ravanan aandalum...' (is it also a political statement?) from Mullum Malarum (1978), Petta's climax is among the best finishings we had seen in a Rajni film. It achieves what hundreds of crores of rupees could not achieve in 2.0: frenzy.

If I were to pick just one another person for creating the Petta magic, it is the music composer Anirudh Ravichander. Petta is a wholesome album and the songs have been trending. But the background score of the film is also a superstar in its own right. Hats off! The 'Kalyanam' song is so intelligently done and placed well, it cools down the temper before it builds again and there is blood all over, again.

Directed by Karthik Subburaj, the script is tailor-made for Rajni and fans, with full belief in the Superstar. The filmmaker clearly knows not only what a fan expects from Rajni - but also when s/he expects that. And this is where the success of the film gets defined, especially when compared to the Rajni outings post-Sivaji (2007). While Kuselan (2008) was passable, the iterations of Enthiran (2010 & 2018) were more of tech razzmatazz than a display of the star's aura and talent, Lingaa (2014) didn't even have a decent script to begin with, Kabali (2016) tried to launch Rajni in a new, old avatar, and well Kaala (2018) was Pa.Ranjith's and not Rajni's. All these films made in the past decade assumed either Rajni, the Superstar was a spent force or their scripts would take Rajni to the next level. Both the assumptions were broadly off-target. And immaterial of the claimed box office collections, the end result has always been a kind of let-down for the star as well as for his fans and fanatics. 

Now, Petta brings back to Rajni's fans what has been missing in the cinema halls during all these years: euphoria. 

2.0 (3D, Tamil, Movie review)

Spoilers embedded. 
With 2.0 Shankar is back with his social vigilante theme - an ornithologist strongly believes that unauthorised high energy waves from cellphone towers are killing our neighbourhood birds; he takes up the fight against the system (made of businessmen, politicians and mobile users) by way of pamphlets, slogans and meetings. He is snubbed. His love for the birds is no match for the people's love for their mobiles. Like in all Shankar movies (remember Indian, Gentleman, Sivaji, etc.), where beyond a point the fight cannot follow legal methods, in 2.0 too the bird-lover takes the path of violence. So far, so good. The movie fits in the director's template. But with a twist - the ornithologist is not the film's hero; he is the antagonist. And, we have a fault line here.

At times, while watching Baahubali (S.S.Rajamouli/2015) you get a frighteningly strong feeling that when it comes to grandeur on screen Shankar is passe and SSR is the new address to reckon with. But the industry's original mega-budget director gets back with a bang in 2.0. The visual effects are truly stunning and one-of-its kind. You have to give it to his sheer vision and meticulous execution spread over years. A mind-numbing level of work has gone into the film. You can feel it. The end credits run like the pages of a newspaper with 8 columns and some 30 rows. 

But, where the movie has missed out is, unlike Baahubali or for that matter Avatar or Titanic, in 2.0 the soul of the movie gets fogged and dazzled by the jaw-dropping visuals. In Guna (Santhana Bharathi/1991) we have seen a man's love for a sparrow, and his unbearable pain when the chirpy bird gets killed. We too have felt the pain with him. We cried with a mentally-affected man. Just a broken house atop a hill, a man, a dead sparrow - and magic! Sadly, we don't get that kind of connect with Pakshirajan (the ornithologist, Akshay Kumar), even though hundreds of birds are killed, and our man tries to save birds even after his own death. 


There are some witty one liners like 'Your call is disconnected', 'Vaanga da selfie pasangala', etc. that invite smiles from time to time. But beyond these puns the dialogues are a major let down. May be, it is because of the science-heavy content. More care with the dialogues would have drawn us closer to the characters. Also, most of the key characters on screen do not have proper lip sync or even if they have they do not have accents matching their profile. For instance, the police chief Mr.Rajendran speaks Tamil with a strange accent; The CM, another thorough Tamil gentleman, speaks with a Malayalam tinge making us relive the days of (late) Cochin Haneefa. Oh yes, forget the North Indian actors, they just talk in Hindi while the voice that comes out is Tamil. Perhaps, a sci-fi film allows such liberties.

2.0 makes you realise how much we are addicted to Shankar's fresh and creative songs.  In this film we keep waiting for it, and the wait is rather very long. But when it comes, it brings excitement. A R Rahman and team have done a wonderful job with the background score.  The album too is a pure delight. Building upon Enthiran's lyrics Madhan Karky has given us some refreshing techno, scifi, AI-philia lines in 'Endhira Logathu Sundariye..."

Amy Jackson has acted effortlessly and everyone will agree with me on that. This is one of the best roles she could aspire for. Most other actors do not bother to leave a mark. They just exist. Many of them could have been replaced by even 2D cartoons; it would not have affected the film in any way. But it is not their fault; blame it on the rootless characters they play. Beginning with the bunch of college guys in the first scene till about the end, there is not one single character that tries to find a place in your hearts and minds. And that is not good for a film. 

But there is one person who royally makes up for everyone else. It is superstar Rajnikanth. Just when you feel you have enjoyed seeing enough of him, he flies farther and takes you to a new level; and from there again to a newer place. 2.0 is out-and-out a Rajni film. Style, action, imagination. Also a bit of brilliance. Super star rocks.

2.0 does not make you cry or laugh. 
But it surely leaves you awed, confused and happy too.

The Queen’s Gambit (Review)

(Glad that my review got published in Readers Write  - Thank you so much Baradwaj Rangan! ) Streaming on Netflix and consisting of seven epi...