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Home » Review » Anti Indian movie review: Blue Sattai Maaran's film, which is a bold take on religious anarchy, deserves a better making »

Anti Indian movie review: Blue Sattai Maaran's film, which is a bold take on religious anarchy, deserves a better making

What makes the unusual and hard-hitting plot interesting in parts is its no-hold-barred depiction aided by effective dialogues

A poster of Anti Indian

• Thinkal Menon

Last Updated: 07.25 PM, Dec 09, 2021

Story: Baasha, a political street artist, has been gruesomely murdered by unidentified assailants. Being a Muslim, his relatives and friends take his body to bury it in a nearby mosque. However, the mosque officials refuse to bury Baasha's body as the deceased never followed any religion apart from the fact that his mother is a Hindu. 

His acquaintances take his body to a burial ground where Hindus are cremated. But the officials there disagree to cremate him citing his religious identity. A Christian clergy, too, becomes a part of the commotion by claiming that Baasha's body belongs to their religion as the mother of the deceased had converted to Christianity a while ago. 

Review: Anti Indian is quite an unusual and catchy title for a movie, given the fact that the term is often used in a derogatory manner on social media by many to purposefully offend and provoke those with a different opinion when it comes to topics of national interests. 

With YouTuber Elamaran aka Blue Sattai Maaran making his directorial debut with the movie, all eyes are on him from the time the project was announced, thanks to the popularity his scathing film reviews have garnered over the years among Tamil movie buffs. A political satire, Maaran has attempted an out-of-the-box idea with the film.

The movie begins with the close up shot of Baasha's (played by Maaran himself) dead body, followed by an establishment shot of his mother and other acquaintances grieving over the unfortunate incident. Baasha, a political street artist and a known figure among local politicians, has been murdered by unknown goons.

Post the official police inquiry, his friends and relatives take his body to a mosque to bury it. But the officials there disagree to bury his body there as, the deceased, according to them, is someone who doesn't practice any religion. They also point out the fact that Baasha's mother is a Hindu, another reason for them not to allow his burial there.

This leads to a small communal tension which is nipped in the bud by a few cops. Upon the suggestion of an opportunist right wing politician, they take back his body and decide to bury it at a cremation ground which is meant for Hindus. 

But little did they expect that they would be disappointed this time, too, as the official there expresses his disapproval for burying the body of a Muslim. A group of Christians enter the scene, under the leadership of a priest, and start claiming the body of Baasha as the mother of the deceased had converted to Christianity sometime ago.

Despite several people in the film industry waiting to malign him, it was bold of Maaran to take up a story that would face the wrath of the Censor Board. The movie, which obtained U/A certificate, in spite of facing various troubles with the censor formalities, has managed to release with just one dialogue muted in it. 

With an unusual, never-before-heard subject, Maaran threw light on the religious anarchy prevailing in the society. How organized religions can manipulate the fate of people and the extent to which they degenerate shamelessly have been depicted in an engaging manner. The film also tries to make a statement on who the real anti Indians are in our society. Moreover, it is quite spine-chilling to believe that the sequences in the film are based on a real incident.

The hilarious, but thought-provoking dialogues and racy first half stand out in the film in which Aadukalam Naren, Radha Ravi, Charles Vinod, Jeyaraj and Muthuraman have come up with realistic and gripping performances. The no-holds-barred portrayal of religious leaders taking law in their hands and inciting violence deserves praise.

However, the latter half of the film falters due to excessive dialogue-oriented sequences, repetition of gaana songs and strictly okayish making. A religious riot which occurs at a crucial part of the film appears staged because of which the impact it was supposed to leave gets affected.

The long aerial shots which appear towards the beginning of the film was a treat to watch. The background score, however, could have been more effective. Had the latter half and making been more gripping, the movie would have been a wholesome entertainer.  

Verdict: Though the political satire is engaging only in parts, the filmmaker deserves praise for handling hard-hitting plot.   

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சிவகார்த்திகேயனின் டான் திரைப்படத்தை மறைமுகமாக தாக்கிய Blue Sattai மாறன்- கோபத்தில் ரசிகர்கள்

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சிபி சக்ரவர்த்தி இயக்கத்தில் சிவகார்த்திகேயன் நடித்த டான் திரைப்படம் இன்று வெளியாகி இருக்கிறது. காலை 4 மணி ஷோ எல்லாம் படத்திற்கு இருந்தது.

சிவகார்த்திகேயன் முதல் நாள் முதல் ஷோ ரசிகர்களுடன் இணைந்து வெற்றி திரையரங்கில் படத்தை கண்டுள்ளார். அவரை கண்ட ரசிகர்கள் செம குஷியில் புகைப்படம், வீடியோ எல்லாம் எடுத்துக் கொண்டனர்.

படத்திற்கு நல்ல விமர்சனங்கள் தான் வந்துகொண்டிருக்கின்றன, ஆனால் ஒருவர் மட்டும் படத்தை மோசமாக தாக்கியிருக்கிறார்.

டான் விமர்சனம்

Blue Sattai மாறன் ஒரு படத்தை கூட சரியாக கூறுவது இல்லை, எப்போது எதிர்மறையான விமர்சனங்களை கொடுத்து பல பிரச்சனைகளில் மாட்டிக்கொள்கிறார்.

தற்போது டான் திரைப்படத்தை ரசிகர்கள் அனைவரும் கொண்டாடி வர இவர் டான் திரைப்படத்திற்கு இதுதான் நிலைமை என மறைமுகமாக ஒரு புகைப்படம் போட்டு தாக்கியுள்ளார்.

அவரது புகைப்படம் கண்ட ரசிகர்கள் செம கோபத்தில் அவரை திட்டி வருகிறார்கள்.

pic.twitter.com/t5lg9oGBuJ — Blue Sattai Maran (@tamiltalkies) May 13, 2022

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ரஜினி, அஜித் போன்ற முன்னணி நடிகர்களை பின்னுக்கு தள்ளி தி லெஜன்ட் படத்தின் டிரைலர் படைத்த சாதனை – ப்ளூ சட்டை மாறன் போட்ட ட்வீட்

ரஜினி, அஜித் போன்ற முன்னணி நடிகர்களை பின்னுக்கு தள்ளி தி லெஜன்ட் படத்தின் டிரைலர் சாதனையை படைத்துள்ளது.

தமிழ் சினிமாவில் புதுமுக நடிகர்கள் அறிமுகமாக உள்ளார் சரவணா ஸ்டோர்ஸ் கடையின் உரிமையாளர் லெஜன்ட் சரவணன். இவர் நடிப்பில் உருவாகியுள்ள திரைப்படம் தான் தி லெஜன்ட்.

உலகம் முழுவதும் வெகு விரைவில் வெளியாக உள்ள திரைப்படத்தின் டிரைலர் வெளியீட்டு விழா சமீபத்தில் பிரமாண்டமாக நடந்தது. இந்த விழாவில் தென்னிந்திய திரையுலகை சார்ந்த பல நடிகைகள் பங்கேற்றனர். ‌

இந்த நிலையில் ப்ளூ சட்டை மாறன் இந்த படத்தின் ட்ரெய்லர் இருபத்தி ஐந்து மில்லியனுக்கும் அதிகமான பார்வையாளர்களை பெற்று தொடர்ந்து பார்த்து ரசிக்கப்பட்டு வருகிறது.

இவருடைய இந்தப் பதிவு சமூக வலைதளங்களில் ரசிகர்கள் மத்தியில் பேசுபொருளாக மாறியுள்ளது. மேலும் ப்ளூ சட்டை மாறன் இந்தப் பதிவைப் பார்த்த திரையரங்கம் ஒன்று உங்களின் ஆன்ட்டி இந்தியன் படத்தை எங்களது திரையரங்கில் வெளியிட்ட போது இரண்டு நாளில் வெறும் 17 பேர் தான் பார்த்தார்கள். அதன்பிறகு படத்தை மாற்றிய பிறகு தான் கூட்டம் உள்ளது என தெரிவித்துள்ளார்.

உங்களது படத்தை விட மோசமான படமாக தி லெஜன்ட் இருக்காது என அந்த திரையரங்கம் தெரிவித்துள்ளது.

Trailer views: The Legend – 25 Million and counting. Nerkonda Parvai – 19 M Darbar 20 M, Annatthe – 16 M. Doctor and Don – 13 M. Jagame Thanthiram 14 M. Maaran – 10 M. Sultan – 9.9 M. Etharkum Thuninthavan – 7.6 M #TheLegend #TheLegendSaravanan pic.twitter.com/2aGmiPFadc — Blue Sattai Maran (@tamiltalkies) June 4, 2022

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Movie Review | Anti-Indian: A bold film on the politics of religion, but flawed technically

‘Anti-Indian’ stands as a testimony to Director ‘Blue Sattai’ Maran’s courage. Not many would have chosen to do what he has done – respond to a challenge thrown at him by those offended by his reviews and accept to make a film to show that it is not as difficult to make a meaningful film as it is made out to be.

Not just that. Maran’s courage is again evident from the sensitive subject he has chosen to deal with in his debut film. ‘Anti-Indian’ shows up unapologetically the manipulative games religious and political leaders play for their selfish gains.

The film starts off with a murder taking place in a constituency that is gearing up for a by-election. The murdered man is identified as Basha (Blue Sattai Maran) and we are told that while Basha’s late father is Ibrahim, his mother Saroja (Vijaya Mami) is a Hindu.

Interestingly, Saroja has now converted to Christianity and has changed her name to Lourdu Mary. The problem starts when Basha’s body is taken for burial.

His body is not permitted in the Muslim burial ground because he was not a practising Muslim. The Hindus refuse his body as it is that of a Muslim. As the body is taken from place to place, religious leaders of all hues, with their own agendas, begin to play manipulative games. Even as this continues, politicians who are looking to win the election, join in with their own deadly plans.

The film takes hard shots at everybody without holding back anything. From religious leaders of all denominations to political bosses, everybody’s agenda is exposed. The film’s biggest strength comes from its script and its dialogues, some of which really stand out.

For instance, there is this scene towards the end where a commoner says: “You had one body and you killed 13 people with it. Now, you have 13 bodies. One wonders what all you are going to do now.”

Technically, ‘Anti-Indian’ is below par. It has no entertainment value. Its visuals aren’t great. The only songs in the film are ‘gaana’ songs, which, after a point, become annoying.

Granted, the director is trying to showcase the exhaustion that even ‘gaana’ singers who are brought in to mourn experience because of the delay in burying the body. But for the viewers, it becomes a tad too much.

As a story, ‘Anti-Indian’ has a very pertinent point to make. But as an entertainer, it has almost nothing to offer.

If you are the sort who enjoys a story that is radically different from your regular kind of films and don’t mind sacrificing commercial elements for a strong message, then ‘Anti-Indian’ is likely to work for you.

But with all its flaws, one must still say that ‘Anti-Indian’ works for the simple reason that this is a brave new attempt into unchartered waters by a debut director.

Movie: Anti-Indian Duration: 123 minutes Director: Blue Sattai Maran Cast: Blue Sattai Maran, Radha Ravi, Naren, Vazhakku En Muthuraman, Vijaya Mami and Jayaraj

–By Manigandan K R

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‘Blue Sun Palace’ Review: A Moody Debut Shines Light on Sisterhood Among Chinese Immigrants Working in a Massage Parlor

Writer-director Constance Tsang's feature debut about the hard-scrabble lives of Chinese immigrants in Flushing proves a deserving prize winner at Cannes Critics' Week.

By Alissa Simon

Alissa Simon

Film Critic

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• ‘Blue Sun Palace’ Review: A Moody Debut Shines Light on Sisterhood Among Chinese Immigrants Working in a Massage Parlor 2 weeks ago

The intimate and naturalistic Mandarin-language drama “ Blue Sun Palace ” has nabbed the French Touch prize from the Cannes Critics’ Week jury, putting Chinese-American writer-director Constance Tsang on the map as a talent to watch after her feature debut. Certain to see future festival action, the drama about three working-class Chinese immigrants in Flushing, NY, the film succeeds with touching performances from Ke-Xi Wu (“Nina Wu”), Lee Kang Sheng (Tsai Ming Liang’s iconic actor) and Haixpeng Xu (“Where Echoes Never End”) that could tempt distributors in the coming months.

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Tsang’s minimalist screenplay unfolds in two time periods, divided by a traumatic event on the Lunar New Year (and the film’s opening credits some 33 minutes in). After the narrative rupture, the relationship between the characters realigns and a theme of finding comfort amid grief comes to the fore.

As befits a film that cites a massage consultant in the closing credits, the scene that most lingers after the film ends is a lengthy one showing the treatment Amy performs on a Caucasian client. Claustrophobically shot by experienced Canadian DP Norm Li, it epitomizes the drawbacks of her profession. Indeed, Li’s tender yet tightly framed cinematography, shot on Kodak film, underlines the confined situations in which the characters exist and captures their cluttered surroundings with a documentarian’s eye. Composer Sami Jano provides an effective but sparsely used score.

Reviewed online, May 23, 2024. In Cannes Film Festival (Critics Week). Running time: 117 MIN.

• Production: A Big Buddha Pictures, Field Trip Media production. (World sales: Charades, Paris.) Producers: Sally Sujin Oh, Eli Raskin, Tony Yang. Executive producers: Yang Dajin, Zhai Yifan, Constance Tsang, Zhang Meng’er. Co-producers: Nabeer Z.Khan, Marta Cruñas Compes.
• Crew: Director: Constance Tsang. Writer: Constance Tsang. Camera: Norm Li. Editor: Caitlin Carr. Music: Sami Jano. 
• With: Ke-Xi Wu, Lee Kang Sheng, Haixpeng Xu. (Mandarin, English dialogue)

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