Kamal A2Z: Devar Magan
Editor’s Note: Okay, the purists might say that the spelling should actually be “Thevar Magan”. But we’re strapped for movies — will you kindly excuse? And is anyone ready to quench our thirst for Daisy, Donga Dora or Dekha Pyar Tumhara?
Hmm, what do I write about a landmark movie that has been analysed in umpteen ways, even on this very blog? I think I’ll look back at the movie, the times and some interesting tidbits.
- Few shots come to mind when I think of Devar Magan. One of them that is stuck permanently is from the climax. Kamal carries the mega-sickle on his shoulders and walks down, like Jesus with the cross. At that instant, I saw Kamal disappear and the character take over completely. But my wish for a National Award didn’t come true. There were 6 others for the movie though.
- The movie was talked about for Sivaji Ganesan coming together with his on-screen successor, Kamal. The chemistry was simply memorable. Kamal seemed to have almost reproduced their real-life relationship onto the reel. Sivaji remarked after the movie’s release that Kamal had just asked him to be himself to play that character.
- When the movie was being shot, Devi, the Tamil magazine had covered it. It featured sound bytes from Sivaji mainly. To one of the questions, he had said that Kamal was still young and could continue acting for another 15 years. The year was 1992.
- In my mind, this was Sivaji’s best performance along with Mudhal Mariyadhai. He famously refused the Special Jury National Award, as he hadn’t been recognised in all the years.
- Traces of The Godfather are evident — the local chieftain, the younger son being preferred to take over and so on. Kamal later said that it was indeed a tribute. It was actually a bet amongst friends on who would do the Hollywood classic in Tamil first. Mani Ratnam won with Nayakan, 5 years earlier.
- Revathi took over the role of Panjavarnam that Meena turned down due to lack of dates. Though a tad old for that role, she went on to add another feather in her cap in the form of a National Award.
- Vadivelu possibly never did a role like this before or after Devar Magan — sheer casting genius.
- The songs were very situational and not all of them became big hits. But “Inji iduppazhagaa…” rocked and fetched a National Award for S Janaki.
- When the movie became a huge success, Kamal underplayed it by saying that it was just a ‘rehearsal’ for Marudhanayagam. We’re still waiting for the real thing.
November 9th, 2007 at 6:52 pm
Thevar/Devar Magan is one of those movies that I will always point out as ‘not directed’ - there’s the Panchayat scene - after the closing of the path. Sivaji is seated in the chair, Nasser comes up. Sivaji gets up to speak - almost instantly, and without it being apparent, the crowd sitting on the ground also get up. It felt not in the least bit intentional. Almost an improvisation. Brilliant brilliant scene.
The film’s overall mood, colouring and tone, frames - effing fantastic.
November 11th, 2007 at 2:18 pm
One post on Th(D)Evar Magan is a task. Nice one randramble.
Let me dwell on the Godfather connex for a bit. Right from the very title. In ‘Godfather’ the title refers not just to Vito Corleone but Michael too. Not just in succession but even in terms of similarity in temperament beneath the self-presumed “I am different”. That identity is the very basic question in ThEvar Magan. And, running the risk of sacrilege, I would say this aspect was handled more fluently in ThEvar Magan.
The takeover itself and the helplessness of the Don come out excellently in TM. In GF, he tries to seem in complete control even when there is a crucial slip: I have a sentimental weakness for my children, and I spoil them as you can see; they talk when they should listen) Whereas Periya ThEvar does have one intimate open moment with his Michael : உங்களைத் தானே நம்பணும்…..வேற யார் இருக்கா இங்க நம்புறதுக்கு (It is you that I have to trust…..who else is there to be trusted). A statement where helplessness and love of the patriarch are in equal proportion.
The Indianization is exceptional. While Michael willingly marries the very Catholic Appolina, PanchavarNam represents a marriage that symbolizes a greater acceptance: as Sakthi explains in words to his Telugu Kay (in one of the many outstanding scenes in this film). An Indian cliche of selflessness, that is handled beautifully.
November 21st, 2007 at 8:17 am
Thevar Magan like many of Kamal’s later movies tend to portray moments of emotions / drama with a deft touch of subtlety that is often not reflective of Indian / Tamil cinema. In most indian movies, emotions / melodrama is often exaggerated, loud and dramatic not just with expressive emoting but in an all consuming explosion of background music, settings, costumes, make-up etc.
TM, Mahanadhi, Hey Ram, Anbe Sivam etc were excellent in moments that spoke volumes in deft silences, glances, body language and of course, bgm. Even in VV, the silences bet Kamal & Jo spoke much without uttering a word.