What to stream this weekend: Kamal Haasan’s Michael Madana Kama Rajan

The song, which was composed and sung by Ilaiyaraaja, quickly details how identical-looking quadruplets were separated at birth paving the way for the main plot to proceed forward without any baggage. His fantasy song with Shalini is interrupted by the moneylender, to whom Raju owes a debt (see the pattern). Raju has no money to give, so he offers a plate of dry fish, which the moneylender throws out the window. What ensues is hilarious slapstick humour, involving Madan’s Goliath of a bodyguard Bheem (Praveen Kumar of Mahabharat series fame), that tackles brute loyalty and cold treachery. For example, Avinashi has misappropriated Rs 25 lakh of Madan’s money and he returns Rs 6 lakh later. Advertising

MMKR was helmed by Singeetam Srinivasa Rao from Kamal’s script. 0
Comment(s) We meet Subramaniam Raju, a fireman, who rescues Shalini Shivaraman (Kushboo) and some of her paintings from the fire. The main conflict in the scene is over the money owed, which becomes an invisible thread that connects all the brothers. Kamal Haasan’s quasi-improvisational nature of the plot is enhanced by Crazy Mohan’s spontaneity, which is beautifully organic. The jokes are no-brainers, even intentionally bizarre at times. Popular Photos

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The life of four brothers remains interlocked even as fate has taken them in different directions. And when Kameshwaran meets his father, he has a small argument over balance amount of some purchase. Following this success, they both collaborated again and this time they outdid themselves. Raju had taken a loan of Rs 6,000, which stands at Rs 25,000 with interest (the pattern continues). The plate of fish lands on the head of Kameshwaran, who is a cook. The brilliant screenplay introduces the four estranged brothers in an ingenious manner. But, all my friends lovingly, in short, call me Subramaniam Raju.” You might expect a follow-up question but Shalini buys into Raju’s ridiculous premise without a second thought. The film revolves around four distinctive characters: a foreign-educated millionaire Madan, a hardened criminal Michael, a heroic fireman Subramaniam Raju and a naive and kind-hearted cook Kameshwaran (all played by Kamal). “Isn’t your name Subramaniam Raju?”, she asks. Madan confronts Avinashi (Nagesh) after he finds out that the latter has siphoned off Rs 25 lakh rupees of his father’s money. Michael Madana Kama Rajan is a work of pure and unadulterated passion for comedy and cinema, which is a rarity today. The writer duo’s Michael Madana Kama Rajan (MMKR) is among the best comedy films made in Tamil cinema so far. While Kamal wrote the screenplay, Mohan took care of the dialogues. The entire backstory of the film is narrated in the opening montage song, “Kadha Kelu Kadha Kelu”. Another variation of the same joke even seeps into Mohan’s writing for Avvai Shanmughi, where Kamal claims Basha is short for Palavakkam Swaminathan. The film is an example of what filmmakers can achieve within the confines of commercial masala cinema. The film is rife with Mohan’s quotable one-liners and trademark puns. See how Mohan toys with the audience. He ad-libs: “My full name is Madan. The next scene we see Michael, who is fast asleep as he pulled an all-nighter printing counterfeit money. He was nicknamed ‘Crazy’ for a reason. The scene results in a chase sequence which ends when Michael’s car rams into a transformer under a basement of a building. The film is available on Amazon Prime Video. The ensuring short-circuit sets the bulling on fire, necessitating the service of firemen. Even nearly 30 years later, the film will give you belly laughs. Crazy Mohan and Kamal Haasan first collaborated for Apoorva Sagodharargal. Sample this: when Shalini bumps into Raju at a Madras (now Chennai) hotel, he gives her his newly assumed identity- Madan. Advertising

His humour was sharp as a razor when he worked with his long-time associate and late comedian-screenwriter Crazy Mohan. An unprepared Raju manages the lie by improvising an unreasonable explanation on the spot.