Rogue @rubanrogue - Twitter Profile

12 months ago

Time flying!!! #14YearsOfMankatha #Thala50 #aVPgame this is how it all started!! @thisisysr #sakthisaravanan #stuntsilva #pkl #Premgi #vasuki #SunPictures #cloudninemovies

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President of India

@rashtrapatibhvn

over 1 year ago

President Droupadi Murmu presents Padma Bhushan in the field of Art to Shri S. Ajith Kumar. He is a towering figure in Indian cinema, particularly in the Tamil film industry. His ability to portray a wide spectrum of characters has cemented his reputation as one of the most versatile actors in the industry. His influence stretches far beyond the confines of cinema. He is involved in charitable activities, lending support to various causes without seeking public attention.

rashtrapatibhvn's tweet photo. President Droupadi Murmu presents Padma Bhushan in the field of Art to Shri S. Ajith Kumar. He is a towering figure in Indian cinema, particularly in the Tamil film industry. His ability to portray a wide spectrum of characters has cemented his reputation as one of the most versatile actors in the industry. His influence stretches far beyond the confines of cinema. He is involved in charitable activities, lending support to various causes without seeking public attention.

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Sudhir Srinivasan

@sudhirsrinivasn

over 1 year ago

It's a joy when films break out of what they are supposed to be as star vehicles. Vidamuyarchi begins with an extremely sensitive topic, and treats it with such gentleness and without judgment. Arjun (Ajith) is, at heart, a vulnerable softie, incapable of prejudice and hatred. He can't trust the cops, and yet, he cannot stand by to see them die. His enemies subject him to such humiliation and cruelty, and yet, he gets no pleasure out of hurting them. His wife, well—she wants to move on from him, and yet, he seeks no retribution. Arjun isn't a hero; he's a vulnerable man forced into a fight he does not enjoy. We see this quality many times in the film. In the petrol bunk scene, we see clear evidence that Arjun is an emotionally mature man who isn't looking to escalate things. "They're young and are looking for trouble," he says. Ordinarily, in our cinema, we are trained to expect him to turn into a vengeful demon figure, who makes enemies run for life. Vidamuyarchi, despite having the structure for it, refuses to turn Arjun into a Vedalam-like fearsome presence. It's such a brave choice. Towards the end, when someone asks, "Nee enna hero-va?", Ajith responds with an outraged no, almost begging them to understand. It feels almost like a plea to the world. It isn't coincidental that he kills nobody. This isn't that kind of film. His superpower isn't his ability to kill a dozen people at once; what sets Arjun apart is his ability to trust and hold faith in people. Regina Cassandra's character (she's excellent, by the way) doesn't get this. "Ippo kooda avala nambaraan ivan!" Heroism isn't violence in this film; it's the ability to trust, to persist in faith, even when an evil world (personified literally as a woman in the film) tempts and gives you enough reason to turn against your own. I thoroughly enjoyed the setup of the film (a lovely first half, if you ignore the unconvincing romantic beginnings)—the silences, the wonderful ways in which the Azerbaijan land isn't just a backdrop, but an inherent part of the film's storytelling. This isn't geography used for beauty alone; it's geography that dictates events (I liked how the foreign actors are used as well). In an Ajith film, you expect empty roads and vehicles in storytelling, but here, it all happens organically, even as everyone and everything toys with Arjun's mind. Yes, the great setup probably doesn't result in the kind of deep joys you expect. Once the film turns into a desperate search for a person, you see all the standard action blocks (I thought the fight with Arav-and-gang inside a car was done particularly well). But it remains a beautifully crafted film, with many standout shots (especially from the top angle). Perhaps the origins story for two characters needed to be more powerful; perhaps the film feels more enjoyable when you don't yet know the answers than when you do. But Vidamuyarchi has a big, honest heart, much like its protagonist. It could have been shaped differently, into something grander, something more easily gratifying, in keeping with our commercial cinema rules, but I like that it doesn't go that route. Because it doesn't, we get the rare pleasure of seeing a truly unique protagonist—not a hero, but a man who refuses to give up on even those even when they have given up on themselves (one character even confesses to hating himself). In this film, Vidamuyarchi isn't about perseverance in work, as it's generally used. Here, it's about the spirit, about the doggedness required to keep human bonds alive. It's a film that may not have grand heroism as we have come to expect; but it has more than one grand idea for sure.

sudhirsrinivasn's tweet photo. It's a joy when films break out of what they are supposed to be as star vehicles. Vidamuyarchi begins with an extremely sensitive topic, and treats it with such gentleness and without judgment. Arjun (Ajith) is, at heart, a vulnerable softie, incapable of prejudice and hatred. He can't trust the cops, and yet, he cannot stand by to see them die. His enemies subject him to such humiliation and cruelty, and yet, he gets no pleasure out of hurting them. His wife, well—she wants to move on from him, and yet, he seeks no retribution. Arjun isn't a hero; he's a vulnerable man forced into a fight he does not enjoy.

We see this quality many times in the film. In the petrol bunk scene, we see clear evidence that Arjun is an emotionally mature man who isn't looking to escalate things. "They're young and are looking for trouble," he says. Ordinarily, in our cinema, we are trained to expect him to turn into a vengeful demon figure, who makes enemies run for life. Vidamuyarchi, despite having the structure for it, refuses to turn Arjun into a Vedalam-like fearsome presence. It's such a brave choice. Towards the end, when someone asks, "Nee enna hero-va?", Ajith responds with an outraged no, almost begging them to understand. It feels almost like a plea to the world.

It isn't coincidental that he kills nobody. This isn't that kind of film. His superpower isn't his ability to kill a dozen people at once; what sets Arjun apart is his ability to trust and hold faith in people. Regina Cassandra's character (she's excellent, by the way) doesn't get this. "Ippo kooda avala nambaraan ivan!" Heroism isn't violence in this film; it's the ability to trust, to persist in faith, even when an evil world (personified literally as a woman in the film) tempts and gives you enough reason to turn against your own.

I thoroughly enjoyed the setup of the film (a lovely first half, if you ignore the unconvincing romantic beginnings)—the silences, the wonderful ways in which the Azerbaijan land isn't just a backdrop, but an inherent part of the film's storytelling. This isn't geography used for beauty alone; it's geography that dictates events (I liked how the foreign actors are used as well). In an Ajith film, you expect empty roads and vehicles in storytelling, but here, it all happens organically, even as everyone and everything toys with Arjun's mind.

Yes, the great setup probably doesn't result in the kind of deep joys you expect. Once the film turns into a desperate search for a person, you see all the standard action blocks (I thought the fight with Arav-and-gang inside a car was done particularly well). But it remains a beautifully crafted film, with many standout shots (especially from the top angle). Perhaps the origins story for two characters needed to be more powerful; perhaps the film feels more enjoyable when you don't yet know the answers than when you do.

But Vidamuyarchi has a big, honest heart, much like its protagonist. It could have been shaped differently, into something grander, something more easily gratifying, in keeping with our commercial cinema rules, but I like that it doesn't go that route. Because it doesn't, we get the rare pleasure of seeing a truly unique protagonist—not a hero, but a man who refuses to give up on even those even when they have given up on themselves (one character even confesses to hating himself).

In this film, Vidamuyarchi isn't about perseverance in work, as it's generally used. Here, it's about the spirit, about the doggedness required to keep human bonds alive. It's a film that may not have grand heroism as we have come to expect; but it has more than one grand idea for sure.

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Suresh Chandra

@SureshChandraa

over 1 year ago

I am deeply humbled and honoured to receive the esteemed Padma Award by the President of India. I extend my heartfelt gratitude to the Hon'ble President of India, Smt. Droupadi Murmu and the Honourable Prime Minister, Shri Narendra Modi for this prestigious honour. It is a privilege to be recognized at such a level and I am truly grateful for this generous acknowledgment of my contributions to our nation. At the same time, I am mindful that this recognition is not just a personal accolade but a testament to the collective efforts and support of many. I would like to express my sincere thanks to the members of the film industry, including my distinguished seniors, various peers, and untold others. Your inspiration, collaboration, and support have been instrumental in my journey, including the pursuit of my passion in other areas as well. I am also grateful for the kind support, over the years, of the motor racing fraternity and the sports pistol and rifle shooting community. I thank the Madras Motor Sports Club (MMSC), the Federation of Motor Sports Clubs of India (FMSCI), the Sports Development Authority of Tamil Nadu (SDAT), the National Rifle Association of India, and the Chennai Rifle Club for their encouragement of sports and the community of sportspersons. To my family and friends: Your love and support have been both a refuge and source of strength. Thank you! I wish my late father had lived to see this day. Yet, I like to think he would be proud that his spirit and legacy live on in all that I do. I want to thank my mother for her unconditional love and the sacrifices that enabled me to become all that I could be. To Shalini, my wife and companion of nearly 25 wonderful years: Your partnership has been a joy and cornerstone of my success. And to my children, Anoushka and Aadvik: You are my pride and the light of my life, motivating me to set an example for how to do well and live right. Lastly, to all my fans, supporters, and well-wishers: Your unwavering love and support have fueled my passion and dedication. This award is as much yours as it is mine. Thank you all for this incredible honour and for being part of this journey. I am committed to continuing to serve with integrity and passion and wish you all just as well on your own journeys. With utmost gratitude, Ajith Kumar

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