Ordinary film from extraordinary star

An abstract approach doesn’t help the Telugu audience to connect with the film

A still from 'Uttara Villain'. Photo: Special Arrangement

Be it narcissism, be it ambition or a last desire, Manoranjan wants to come up with one great performance that will make him immortal...he wants a film that will be remembered for posterity. Now the dying man’s dream for an impeccable story that is somewhat Chaplinesque, is a surreal task which only his mentor is capable of realising. . This is where the filmmaker has taken the audience, or should we say the Telugu audience, for granted

Kamal Hassan the artiste as Uttaman picks up a character of a folk artiste, the purpose of this sub plot is allegorical. It is meant to evoke humour, and does entertain initially but as it progresses it lets you down completely. If the intention is to perform a great role, where is it? How would one understand the comparison of the folk artiste to Prahlada? The folk art which originated down South is supposed to have similarities with his life as a film artiste and move on parallel lines. Now if a Telugu film dubbed into Tamil were to have a sub plot that was narrated through “chekka bajana; ‘jada kolatam’ , ‘katti saamu’ or karra saamu’, would the audience of another region understand it?

In

Uttama Villain, the screenplay turns confusing. What is meant to connect emotionally leaves you detached. On one end Kamal wanted to move the audience emotionally as an artiste who is being snatched away and on the other end he wants people to laugh, be entertained with the folk drama. This does not happen. The film moves back and forth; for a few minutes you enjoy the actor’s role conflict in the social drama. However the very next minute you see an artiste who is displaying his intelligence that only a few can understand. In this balancing act, Kamal Hassan couldn’t appease the common movie going public.

In the dubbed format, the dialogues aren’t simplistic, the length gets worrisome in the musical drama. Nasser as the minister who kills the king and chains the princess and Uttaman being used as an instrument to round off the story is just a comedy on paper.

If only there was another relatable and simpler sub plot, this film would have been a memorable one, if not a great piece of art. What else is there for Kamal Hassan to prove? He has pushed his boundaries far but his obsession with his art, to get better, offbeat, more experimental has cost him a lot, in opening collections as well as good reviews. Those who have watched Kamal’s Telugu films, a generation who is not oblivious to his professional and personal life will immediately guess that Uttama Villain is a hugely personal film for the artiste.

If the artiste himself had directed it, it would perhaps be different. The denouement came in the form of spending more than an hour on the ballad form; it is unfortunate that even children who saw Nasser’s ear being bitten off didn’t find the sub plot funny. It is very obvious that Ramesh Aravind couldn’t handle the heavy piece and strike a perfect balance between what was natural (the actor’s life) and surreal (the folk lore). The detailing, the slow pace, lack of entertainment, the autobiographical references, three hour span all becomes bearable and enjoyable provided you are blessed with an ‘Uttama’ taste or if you are fan of Kamal Hassan.

There is another generation curious to watch Kamal’s cinema which is totally zoned out, the Telugu here isn’t colloquial and one gets the feeling of watching a puppet show. While you move from the simple to the ambiguous, you even miss out the fact that it is Kamal who has dubbed and not SPB.

Ghibran and Shamdatt’s contribution to the visual extravaganza is monumental, Uttama Villain we repeat is for a niche audience, otherwise it is just 50-50.