The Art Of The Interval Block

"But to compare two things, not to compare one thing with the memory one has thereof; to compare two images and, in the moment when these are seen, to indicate certain relations”- Jean Luc Godard

SPOILERS For Vikram, VTK and PS1

Just like salt is to food, so are Intervals To Indian Films. Specifically, Indian cinema theatres. The effect is such that when I saw the The Godfather’s 50th year special re-release, an Interval was placed at such a crucial place it was extremely annoying (specifically, the scene where Michael goes to the restaurant to meet Solazzo). As such, Indian Films have a special love for intervals, mainly done to sell snacks of the Theatres, with many filmmakers converting it to their advantages. A key example is the famous, “Iam waiting”, moment said by Vijay, in Thupakki and Kaththi or the reversal of it in Master.

Thus over the years many films have started using this cinematic “tool” to establish character development, plot advancement, mass moments etc. but I think the below 3 are the important intervals in Tamil cinema of 2022: Vikram, Vendhu Thanindhadhu Kaadu and Ponniyin Selvan 1.

All 3 films have a different style of Intermission/Interval and are examples of how to make a great interval. Aarambikalama?

Chapter 1: Suspense and Revelation

To start off, Vikram is not a film that Iam a big fan of in LK’s career with me liking Master more than Vikram. Having said that though, the intermission in Vikram is one the best directed sequence in Lokesh’s career.

Right from the “Aata Aruthudalamaayya”, Lokesh controls the full sequence from his trademark biriyani scene( It even has its own preparation scene), the music, the crossing of paths of Amar and Sandhanam, the editing (the jump cuts of hiding the machetes is just badass),the camera movement, the establishments of the scene itself etc all slowly buildup to the scene which everyone knows is going to happen: the revelation of Kamal’s Vikram.

It has always been an opinion of mine that it would be absolutely impossible, in Indian Cinema, to pull of something like the bunker scene in Inglorious Basterds(Chapter Operation Kino) due the fact that our films has never shown the protagonist dying i.e we as the audiences know that the protagonist will eventually be alive. As such, such a sequence which drives on suspense and revelation, which involves the death of some (somewhat) primary characters would be quite tough to pull off. Lokesh faces the same issue: We as the audience know that it is Kamal’ Vikram who is the masked vigilante. However where Lokesh wins, is how he manages to imbue a sense of curiosity, suspense, tension for a reveal which everyone knows. But even then, when we finally see Vikram’s face along with Anirudh’s voice singing the main title track , the adrenalin rush is such a payoff leading to one of the best intervals.

Chapter 2: Character Development

Vendhu Thanindhadhu Kaadu is one of my favorite films of this year. Everyone says the second half is routine which I don’t get. But having said that, this article concerns the scenes before that so let’s get to the Interval.

Muthu, having seen enough, is ready to leave Esakki’s Parotta shop. Saravanan helps him, knowing the outcome of such a gangster world. But just as he leaves, the opposite gang attacks the Parotta Shop. Muthu, first shocked, struggles to get his footing, and is the one being attacked. But then he soon, gets the better of the others and begins beating the others, all filmed in (If I Remember correctly) one long take, as the fight goes to the upper room where all the workers sleep. And the camera swoopingly covers the room but from outside, us hearing only the sounds of whats happening, and as we go in to the room, we see Muthu trying to get the gun; Struggle, Struggle, Struggle and the BANG!BANG!BANG he guns down the men of the opposite gang with ARR’s magnificent ”Marakkuma Nenjam” plays on the soundtrack.

This single moment, bursting suddenly, unlike Vikram’s slow buildup, hits you on the face, as we realise Muthu’s transformation from the fearer to the feared. This stretch of filmmaking keeps the tension on, with the unpredictability of what's going to happen, hooking us to Muthu, who finally faces the fate his mother warned of. This primarily works as the film consistently shows Muthu’s attempts to escape the life only to be ultimately and unexpectedly fall back into the same place. A mass and class Scene.

Chapter 3: Plot Revelations

Since I saw it yesterday, I’d say hopefully this part contains more writing and less story.

Ponniyin Selvan 1 first half , I felt had individually great scenes but somehow failed to come together as a whole but it is the Interval which fully is able to round off the film together as a whole.

Aditya Karikalan goes on a monologue telling about his past with Nandini and how a particular event scarred him for life, and a song comes and we finally see the flashback as a whole and the Interval comes. This is the story part. Where it really goes up and above is in the making of it.

The camera goes full blown hand held, as we get a visual reflection of Aditya’s state of mind with the intercutting memories of the past showing his pain. Just as he declares how he kills, drinks to forget Nandini, the song “Chola Chola” segues brilliantly ( almost like he’s singing to forget Nandini) and after a small dance and drink, we get to see the final event of how Aditya saw Nandini with his enemy VeeraPandyan and despite her pleas, he goes to behead VeeraPandyan’s head. We see mainly Nandini’s reaction, the blood flying off and the impact it has on Nandini, solidifying Aditya’s angst, Nandini’s character and her role throughout the rest of both parts of the film. Vikram’s voice and body do a marvellous job of selling his sadness while Aishwarya Rai’s eyes do the majority of the work showing her entire feelings. And as usual, ARR’s music and especially the loudness of it sells the power and intention of the scene, cementing a powerful interval.

Epilogue Intervals are primarily an Indian cinema thing and its glorious to see how different filmmakers use this audience pressure of an interval to their own advantages. Text me your favourite intervals in films.