All Hope Is Lost
If you were watching Meaghamann on the night of December 26, at Screen-1 of Inox Cinemas, Chennai Citi Centre, you would have heard a man yell “What the fuck is going on!” Dear reader, that was me.
At this point, you may ask, “But, you have walked out of movies before; why didn’t you do it this time?” The answer simply is this: Meaghamann is the destruction of Tamil Cinema as we know it. I have preached apocalypse after watching movies such as Aadhavan, Kandhasamy and Sura. But, Meaghamann is the chosen one.
For starters, you can never get the pronunciation right. Even the titular song calls it “Mee-gha-man” and later as “Me-gaaa-man”. In reality, the titular character is “Megaman”, a larger-than-life Superman. But, unlike Superman, Megaman has no Bizarro ego – for there simply couldn’t be another like him.
The film opens with a disclaimer that although the story takes place in Goa and Mumbai, all characters speak in Tamil so that the common Tamilian can understand the dialogues. But, when the dialogues come with such heavy accents and are often eaten up by the jarring background score, you doubt the fate of the common Tamilian?
Meaghamann is a death-blow to your eyes, ears and sanity. There are scenes that have queasy, handheld cinematography. These are not only out of focus, but are also guttural. And, why are there so many sudden cuts to sunlight. In a dark room like a cinema theatre, the last thing we need is blinding light. If you’ve ever wondered how vampires react to sunrise, Meaghamann offers you plenty instances to experience firsthand.
The story is pretty simple. But, it has been hacked to small, uneven pieces to a point that you may find Hansika amusing. An undercover cop has to arrest the leader of a drug cartel and must work his way to the top. Filmmakers always find some way to weave in romance, and that’s how you get Hansika Motwani, who plays an idiotic, chirpy neighbour with no self-respect.
But, if you were to know how Aarya single-handedly kills a room full of armed gangsters, you would rather choose to see more of Hansika. It is always amazing how gangsters run around with guns all the time, but USE knives while fighting the protagonist.
In any screenwriting class, you will be taught that the first ten minutes are the most vital ones. This is where you catch hold of the audience. Meaghamann revealed in its first ten minutes that there was nothing great to expect. But, instead it gave rise to a new level of greatness. Yes, I’m referring to the audience – those poor, clueless wimps who paid the price and spent more than 2 hours watching a train wreck of a movie.
And this time, give the audience a National Award. They fucking deserve it!
Hansika hasn’t been on my good side since her Tamil début in Maapillai. I haven’t found her of any good use. Or maybe, it’s because she hasn’t been convincing in any of the roles given to her. A heroine is not needed in Meaghamann. Unless she too is an undercover cop, I can’t see why her scenes weren’t cut from the editing table. And here’s the hook. The director Magizh Thirumeni connects Hansika’s character with the main plot by envisioning a Bourne Supremacy-styled theft of a mobile phone.
Is it just me or have Indian movies started portraying non-consensual sex as a woman’s fantasy? Hansika’s character is quite infatuated with Aarya that she fantasizes of being “taken”. The fantasies please the heroine and spike the blood levels of the younger generation, but the scenario is overlong and hampers the pace of the film.
The film would have been less than two hours, if not for Hansika, who play a college student trying to perfect her Latin dancing skills. “In Latin, it’s all about the legwork” mutters Aarya as he helps her master the spinning technique.
At this point, you may ask “Is the protagonist an undercover cop or a Latin dancer?”
Here’s my reply: “He’s Megaman.”