Warning: This post might be a bit NSFW.
First, watch this. Then we’ll talk:
This post began with an urgent request for my email id from Ganesh Raghuraman in the middle of the night. Since he knew me well enough, I figured that the matter had to be of earth-shattering inconsequence for him to sound so desperate, so I obviously sent it to him right away. His email, which I reproduce below in its ungrammatical entirety (despite his fervent pleas to un-Michael Bolton the crap out of it) was as follows:
I am totally tripping on Mona now..thanks to Mukund. One of those weird songs that gets better the more you listen to it. I have some serious doubts about the production and shoot as it pertains to lyrics.
un kannu compassa
nan un columbussa
Nangooram na paychha, nee aaada,kadal vedikkuthu pattasaHave you guys seen the video? Thalaivar raids a ship in the high seas and there is a elaborate cannon-fire routine all inside the studio. I mean, we are talking about straight out of TR’s page book. I wonder if the poet, nay song writer, (please don’t be vairamuthu, please) wrote some random shit to rhyme and thalaivar just told to producer to spend a few lakhs of rupees. Or did he want a pirate themed song (i don’t think so. because he does some Mission Impossible shit). Would they have done for some other guy who is not so famous. They probably would have asked the song writer to come up with something else, right?
This is indeed a matter for deep thought, and deserves to be on par with the great existential questions of our age, such as “Does wisdom fruit have seeds?” or “Where is the other banana?” or “Could we (not we personally, more of a general we) possibly come up with a theory that reconciles gravity with quantum mechanics, leading them to have some urgent, sweaty, high-dimensional make-up silpongs in a corner of a Riemannian manifold?”
Research suggests that the question is homomorphic to older ones such as “Kodi asainthathum kaattru vanthatha?” or “Which one came first, the chicken or the egg?” (the latter of which presupposes the existence of some very inventive — not to mention kinky — chickens).
Still, let me make an attempt to resolve this. A film like this begins with a resolution, and that resolution isn’t “We’re gonna make a great Rajni movie!” Rather, it’s “This is gonna be the biggest Rajni movie ever”. Which means that, once you’ve expended the GDP of the average banana republic on Rajni, you still have enough left in the tank to blow up on song sequences. The consequence, however, is that whatever trickles down to the serfs (lyricists etc.) after all the aforementioned profligacy smells faintly of ammonia and warrants lyrics with the same penetrative aroma.
You might still end up with a good movie, or even a decent one where Rajni is far and away the best thing about it. But it occurs to me that the bigness seems to be the first thing the makers focus on. It’s like a celluloid equivalent of the Spruce Goose – a big thing that flies rather than a thing that soars.
So the real answer to the question is: It. Doesn’t. Effing. Matter.
If they had already decided on dressing Rajni up as a pirate (is it just me, or are his song sequences increasingly looking like they’ve been designed by a Halloween party planner on crystal meth?), then these lyrics are as good as any you can expect. Okay, you can get all poetic about orgasms and condoms with visuals involving bandits in the desert, as in the case of Ottagatha Kattikko, but are you seriously gonna sit there and tell me that this approach would’ve immeasurably enriched your experience of Mona Gasolina?
If, on the other hand, the lyrics had come first, and had been speaking, instead, of rockets, then the budget would still have been blown up, except differently. Rajni would’ve donned a space suit, journeyed to a distant planet in the vicinity of a black hole (with scantily clad backup dancers chronicling the, umm, blast off and the reaching of escape velocity through interpretive dappankoothu), and returned to romance a girl a third his age, whereas here…
Actually, the outer space idea isn’t all that far-fetched. This is a man with a song titled Kilimanjaro that is shot in what appears to be Machchu Pichchu. He reads Joseph Campbell’s book years before Campbell was even toilet trained. Space-time bows before the sheer force of his awesomeness. Which, by the way, might answer the earlier question about the make-up sex.
Does wisdom fruit have seeds?
Where is the other banana?
Existential: An adjective usually attached to nouns like question or dilemma by neophytes who like to make trivial shit sound deep.
Neophytes who like to make trivial shit sound deep: See here.
Homomorphic: A mathematical term, which can be most-likely-incorrectly understood to mean “equivalent”. The word has been commonly misused to suggest that the subject has turned gay. Please note that this is a misnomer, irrespective of the gender of the egg.
Ganesh Raghuraman: Better known to BITSians of a certain vintage as Argon (a shortening of R. Ganesh, and certainly not to be confused with chemical elements that have adjectives such as noble or inert attached to them). A man who, when it comes to exploring the seedy underbelly of Thamizh vocabulary, has boldly gone where no man has gone before. (Or wanted to, for that matter.)
A man who can not only swear with more color and density than the average Jackson Pollock canvas, but can also, in mid-swear, pause to ask you for your preferred theory of creation, so that he can then continue to insult your family tree all the way up to Adam or the ape, depending on whom you state as your antecedent. A man who can not only put the words twerking and bharathanatyam in the same sentence but also — this is the part that is as tough as it is disturbing — make it sound logical.
I offered to put this on his LinkedIn profile as a recommendation, but he turned it down. Not sure why.