The more I speak about Vijay, the less it seems. My character has come out so powerful because of the chemistry we shared. 

To start with he is a spectacular human being and that reflects in his work. He has a great understanding of emotions and that reflects in the characters he plays. He has played both the characters with such dexterity.

Secondly, the greatest quality of Vijay is that he also contributes greatly to other actors on the set. If it weren’t for Vijay, my character wouldn’t have probably shaped the way it has. My role didn’t need a co-actor who was going to try to one-upmanship a character. The best thing about Vijay is that he is very secure as an actor. He doesn’t think twice about giving away all the attention if that is what his co-actors require.

My father used to tell me that the more a tree starts growing and bearing fruits, the more it starts bowing down towards the earth. Vijay is the first person I’ve met in my whole life who is apt for that metaphor. For a man of his caliber, Vijay is spectacularly humble and for me, working with him was a great learning experience. He is like an elder brother to me.
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Had Kaththi been a film with loftier ambitions, we might say it begins in medias res – but it does begin with a bang. A prison. An escape. A freeze frame. Then, a flashback, which contains one of those procedural depictions AR Murugadoss is so fond of. (If nothing else, it must be said that his films have some of the smarter masala heroes. There’s at least an attempt to think through a situation instead of just flexing a bicep.) The sequence has a cheeky finish, guaranteed to whip the hero’s (Kathiresan, played by Vijay) fans into a frenzy.

And then, all the air begins to leak out of the narrative. Murugadoss has never been an economical storyteller, but even by his standards, the early portions of Kaththi are remarkably flabby and dull. Instead of surprising us by cutting to scenes directly, he keeps laying them out for us, he keeps explaining them. Consider the stretch where Kathiresan returns to an old-age home and experiences a shock. Why have the lead-in scene where his friend (Sathish) tells him what he’s going to find? How much better if we find out what’s happened along with Kathiresan? The ideas are snappy – the reveal of the person injured in a shootout; the identity of a couple of television reporters – but the staging is shockingly flat. Worse, more time is wasted on what must surely be one of the most uninspired romantic tracks of all time. Samantha plays the heroine… No, scratch that. She plays an emoticon. Happy face. Sad face. That pretty much covers her contribution to the proceedings.

The story is the old one of a crook who grows a conscience – this happens when Kathiresan is faced with the plight of farmers whose lands (and the water in those lands) are at the point of being usurped by a multinational. (Neil Nitin Mukesh plays the villain… No scratch that. He plays another emoticon. Frown face. Angry face.) And because two heroes are always more fun than one, Kathiresan finds himself assuming the role of Jeeva (Vijay again). This avatar is even smarter – not only does he come with an MSc in Hydrology, he’s able to explain communism with the help of… an idli. Clearly, Marxist philosophies are best digested with a spoonful of sambar. It’s the old Naadodi Mannan template, shaped with a relevant, burning social angle. Along with MNCs, Kaththi indicts the mainstream media that cares more about goosing city viewers with sensation than giving villagers a voice. Jeeva, therefore, is their only voice. “En uyire ponaalum vivasaayatha vidaatheenga,” he tells the villagers, after being beaten up by corrupt cops, MNC stooges. The scene is framed so that we see him as a messiah, a deliverer addressing weeping believers – he carries their cross.

Part of the problem with Kaththi, then, is that its concerns are too heavy, too real, to accommodate Vijay’s lightweight, I’m-too-cool-to-care star persona. (That’s why Thuppakki, the earlier Murugadoss-Vijay collaboration worked as well as it did. Its defining characteristic, even as bombs threatened to obliterate cities, was its pulse-quickening coolness.) The other problem lies in the characterization. Murugadoss doesn’t opt for the path taken by Dhool – another masala movie about villagers and their water problems. There, the hero hailed from the village. He was a son of the soil and when he came to the big, bad city to fix things, the transposition carried a charge – we were never in doubt about the intensity of his feelings, the extent of his indignation. Kathiresan, on the other hand, is a creature of the city, a criminal to boot – and his transformative arc needed to be traced more convincingly. (His background, which is revealed late into the film, could have been used to shape his character more empathetically, but it’s tossed off in a line or two.) And without this anchoring, the film gets into a slightly dangerous (and queasy-making) zone where we begin to feel that it is exploiting the horrifying reality of farmers for the sake of a few masala kicks. A scene in which farmers commit suicide is chilling, but a minute later, we question the validity of our response. This is, after all, the kind of film that has its hero claiming that cell phones are an extravagance in a country whose farmers are dying without basic needs – but not before shaking a leg in a lavishly shot song that goes… Selfie pulla.

But the film gets better as it goes along, mostly because Murugadoss rediscovers, midway, the soundmasala instincts that had apparently abandoned him earlier. A fight sequence where Kathiresan uses a bunch of coins is a superb bit of imagination. The impact comes not just from the action choreography, but from the emotional resonance imparted by those coins – they were donated for Jeeva’s cause by displaced farmers who are now laboring as sewage workers and employees in sleazy wine shops. So when Kathiresan uses these coins against the goons employed by the MNC, he’s really drawing from the villagers’ struggles – he’s really fighting their fight. Later, he invokes the names of Periyar, Mother Teresa and Mahatma Gandhi and launches a civil disobedience movement. What a grand idea. And what a grand masala movie might have resulted had these concerns percolated into the story at every level, had this film been as attuned to serving its premise as its hero and his fans.

Storyline: A crook finds his conscience when faced with the plight of farmers 

Bottomline:A lot of flab, but some solid masala moments
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Anybody who has watched at least two of all the Tamil films directed by Hari knows that they are usually a hodgepodge of racy scenes written with the primary aim of providing unfussy entertainment. Poojai comes as no shocker; in fact, quite the opposite. Even a math professor couldn’t provide you with something as formulaic in nature. The scene structure is usually as follows: a fight scene, a comedy scene, a love scene, a duet with a skimpily clad heroine, a villain scene (cue to a fight scene again). Occasionally, a family sentiment scene is inserted into this mix too. These scenes follow each other dutifully. In fact, you’d be surprised at how often you can accurately predict, say, an incoming comedy scene.

The problem with Poojai is not that it’s a commercial, formulaic film, but that it is no Saamy or Singam. The songs aren’t as memorable, and the interactions between the villain (Mukesh Tiwari) and the hero, Vasu (Vishal), don’t sputter with the tension of say, showdowns between Prakash Raj and Suriya in Singam, or Kota Srinivasa Rao and Vikram in Saamy. Also, the seeming lack of deep thought put into each scene makes you feel quite disconnected with the characters on screen and their relationships. For instance, a a love song plays right after Divya (Shruti Haasan) wipes some gravy off Vasu’s shirt.

No, really. Surely, it must take more than some gravy wiping to induce feelings of intimacy? In any case, you’re later shown that Divya hasn’t yet fallen in love with Vasu, making you question the whole purpose of the previously shown duet that has the couple dancing in each other’s arms. In another scene, when you’re shown the reason behind Vasu’s estrangement from his family, you can’t but frown at the rather flimsy nature of it. Parents usually put up with a lot more from their children than a simple, uncontested accusation of a secret hug. Vasu is also shown convincing an eloping couple to return to their homes. His arguments, despite being hardly persuasive, manage to convince the couple of their ‘folly’. The couple may be, but you’re not.

Successful Hari films, while being a lot about the brawn, are also about some brain. In Saamy, for instance, Aarusamy (Vikram) is practical enough to acccept bribes from the villain before bringing his wrath down on him. Poojai, however, is all crash, bang, wallop! It is one jeep-flying glass-shattering bone-breaking billhook-slashing fight fest. 

 Realistic, relatable characters are those who are occasionally vulnerable, and open to the possibility of failure. At one point in Singam, for instance, Dorasingam (Suriya) is frustrated enough to consider returning to his hometown after being rendered powerless by Mayil Vaaganam (Prakash Raj). Vasu in Poojai, however, is Thor incarnate. After a few fight scenes, you realise nobody’s strong enough to hurt him, let alone kill him. In fact, you catch yourself wondering why the villain even persists. It’s clear that he could come armed with a group of 15,000 men with sickles and guns and yet, be decimated by the fist-flailing flying phenomenon that is Vasu.

Poojai, despite not being Hari’s best, could still be successful in the B and C centres, and affirm his bankability. The writing is generally not well thought out though. It seems almost like groups of imperfect scenes were put together in the hope that they’d somehow come together to form a riveting, entertaining whole. Poojai then is a refutation of Aristotle’s adage that states that the whole is greater than the sum of its parts.
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Lyca Productions presents Ilayathalapathy Vijay in Kaththi. 
An A.R.Murugadoss Film.
Produced by: A. Subashkaran, K. Karunamoorthy
Starring: Ilayathalapathy Vijay, Samantha, Neil Nitin Mukesh
Music: Anirudh
DOP: George C. Williams
Editor: Sreekar Prasad
Art: Lalgudi N. Ilayaraja
Stunts: Anl Arasu
Executive Producer: Sundarraj
Label: Eros Music






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Search Engine Optimization

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Increase Your Web Traffic With Triberr

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Social Media Marketing for People in a Hurry

At the time of writing, Google lists over 3.1 billion pages for the phrase social media, 14 billion for twitter and 19 billion for facebook. That’s a lot of stuff to get through. But most of it is about building…

116 Niche Social Media Sites for Marketing Your Business

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Google AdSense earnings not as high as you’d like? Clicks and profits taking a nosedive? Here are 5 reasons your ads might not be making you the money they should – and what to do about it.

1 – You Don’t Have Enough Visitors

Often overlooked by new publishers, simply not having enough traffic to your site is guaranteed to keep your earnings hovering around the disappointing level.
Even for publishers who are high AdSense earners, the actual clickthrough rates (CTR) on ads is low. It’s hard to quote an average click through rate because it varies so much from site to site and niche to niche but for most web publishers it’ll be around 1.5-3%.
That means you need fairly large numbers of visitors to start making a meaningful amount of money.
Suppose the average click on your site gets you $0.20. That means you need five clicks to make one dollar. If your average click through rate is 3% you stand to make $0.60 for every 100 visitors or $6 per 1000.
This is just an example. If your site is based around a topic where the ads pay more – and there are many topics where the payout is higher than twenty cents – you can make more money with less visitors.
But the principal still applies. A good flow of traffic is a vital part of earning revenue – whether through advertising, affiliate marketing, or selling your own product.

2 – You’re Accidentally Attracting Low-Paying Ads

Not all user clicks are created equal. Imagine two companies – one sells greenhouse seeds, the other patio covers. Seeds sell for very little. This means the seed advertiser will never pay much for an ad click because he makes very little back on a sale.
On the other hand, the patio cover advertiser makes a lot more profit per sale so it’s worthwhile spending more for ad clicks. Here are the actual figures for those keywords taken from the AdWords Keyword Tool (Adwords is the advertiser side of AdSense):
greenhouse seeds $0.51
patio covers $3.16
Most of the time AdSense displays ads based on the content around the ad unit. So if you have a gardening blog and you’ve been writing posts about greenhouse seeds you’ve accidentally been attracting low-paying ads. Writing posts about more expensive items every once in a while will boost your income as your blog starts displaying ads with higher paying clicks.
You can apply the same method to any market. Use the AdWords tool or take a look on Amazon to see which are the more expensive products or services that relate to the topic of your website.

3 – You’re in a Low-Paying Niche

An extension of the problem above is when the entire niche is full of low-paying ads. A good example of such a market is games. There’s no shortage of users wanting to play casual web-based games but the click payouts for AdSense are extremely low, making it hard to make a good income with a games site using AdSense alone.
If you’re in this situation, it might be worth look into an alternative to AdSense or making money with a completely different system like Amazon’s affiliate program.

4 – Your Ad Units Have a Low Click Through Rate

High-paying ads won’t earn you cash if no one clicks on them.
As a general rule, ads perform better when they’re above the fold – in the upper part of the page, so they’re visible without scrolling – rather than hidden lower down the page.
Ad placement is usually the single biggest factor of success with AdSense. The ads need to be in a position where your users can see them but not be so in the way they’re annoying and driving people to the browser back button.
Best Ad Sizes
AdSense offers a large selection of ad sizes but you’ll find some are better earners than others. What will work best depends on your site design & layout but here are some examples of positions and sizes that have worked well for me and other publishers over the years, so they’re a good starting point.
336×280 – Large Rectangle
300×250 – Medium Rectangle
728×90 – Leaderboard
160×600 – Wide Skyscraper
My experience has been that the Large Rectangle works the best for most sites. It’s quite a large ad block so it’s not always easy to make it fit into a site design without it being overpowering but if you can it usually works well.
Best Placements For AdSense
Best Placements For AdSense
Good places to put this size ad are near the start of your content or over to the right, so that it forms the first part of a right sidebar. These positions are also good spots to try running the Medium Rectangle.
The 728 Leaderboard often works best to the right of a left-placed site logo, either above or below a top navigation bar. Many publishers report excellent results with this size banner so if you’ve never tried it it’s definitely worth experimenting with.
If you’re using the Wide Skyscraper, you’re limited to where you can place it by its large size – that usually means the left or right sidebar. Curiously, this is one ad size that often works better in the lower part of the page, below the fold.

Experiment With The Ad Style

The default styles applied to new ad units generally work ok but you should definitely spend some time experimenting to find a look that brings in a little more money. Often a small change to the look can increase your CTR, and therefore your earnings, quite considerably.
Don’t use a border
By default there’s a border running around the edge of some of the preset ad styles. My experience has been that removing the border can increase your CTR by as much as 1%. You can remove the border by making the color the same as your page background.
Set the URL color to black
The default is green and I’ve found it changing it to black often improves the ad performance.
Make the Link Color Match Your In-Content Links
If you’re using a non-standard blue color for links within your content, set the ad units to use the same color. The idea is to make your AdSense units blend in more with the content and look less out of place.
For the same reason, set the font and font size to match your site design.
Use Image / Rich Media Ads Only
If your site content is mostly images or videos try setting the Ad Type on your ad units toImage/rich media ads only. Again, it’ll make the ads blend in more which is likely to increase your profits.
Image ads also often perform better than text ads on tech and gadgets sites.
I can’t emphasize enough how crucial ad style and location on the page are to improving click-through rates. Sometimes even a small change can boost earnings significantly. The key to success is make one change at a time, track the increase or decrease in revenue and then move on to the next tweak.
That can be a time-consuming process, so I’ve found a good AdSense theme for WordPress which does the split-testing for you is a major time-saver that pays for itself quickly.
Don’t be afraid to experiment with techniques to combat ad-blindness (users subconsciously expecting to see ads in a particular location and ignoring it).
Adding randomness to the style, media format or position of ad units can really boost your earnings. To do this, you’ll need to use some Javascript or PHP programming to switch between variations of ads or positions, or use a specialized WordPress plugin that lets you do it from within the admin area, so you don’t need to know any coding or programming.

5 – You’re Not Making Your Ad Units “Targeted”

Make sure your best-performing ad units have ad channels associated with them. It’s a great way keep track of the styles and placements that work best on your site. You can now also connect your AdSense account with your Google Analytics account to see exactly which pages generate the most revenue.
When you create your channel, make sure you select the Targeting option. This allows advertisers to more easily find your site when they’re setting up their campaign in AdWords.

Final Checklist

* Keep Building Traffic using ethical, white-hat SEO strategies. If you’re not sure you’re doing that, check out my SEO book.
* Ads Above The Fold
* Match Ad Style With Content
* Use Ad Channels To Track Performance & Add Attract Targeted Placement
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