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Mahathma
Mahathma
Mahathma
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Mahathma
Poster
Directed byShaji Kailas
Written byT. Damodaran
Produced byVandothra International
StarringSuresh Gopi
Biju Menon
Ramya Krishnan
Rajan P. Dev
Devan
Ganesh Kumar
CinematographyDinesh Baboo
Sanjeev Shanker (2nd unit)
Edited byL. Bhoominathan
Music byVidyasagar
(songs)
Rajamani
(background score)
Distributed byVandothra Release
Release date
  • 15 November 1996 (1996-11-15)
Running time
202 minutes
CountryIndia
LanguageMalayalam

Mahathma is a 1996 Malayalam-language action thriller film directed by Shaji Kailas and written by T. Damodaran, which stars Suresh Gopi in the lead role, while Ganesh Kumar, Devan, Rajan P. Dev, Biju Menon and Ramya Krishnan appear in supporting roles.

Plot

[edit]

Devadevan, an underworld gangster decides to appear in front of Justice Varma Commission, who is holding a probe into the serial blasts that claimed innocent lives. Devadevan's claim of divulging solid evidence of the hands of several top politicians and gangsters in the blasts and communal riots that followed made many of his rivals sleepless. Just on reaching the court premise, he is shot point-blank. Severely wounded, Devan is admitted in ICU, from where his memories travel to his early days of crime.

Past: Devan, a suspect under trial along with his trusted right arm Mustafa is bailed out by Khan Sahib, a smuggler on behalf of David Abraham, a Dubai-based crime boss. Upon release, both Devan and Mustafa are provided safe accommodation at Khan's house, where he meets up with Nancy, the daughter of Khan's second wife in her first marriage and an upcoming movie actress. Nancy falls in love with Devan within a short time. Devan and Mustafa commit several smuggling operations for Khan and slowly rise up in career. Upon realizing that Khan is double-crossing him, David Abraham kills him and appoints Devan as his representative in India.

Devan and Mustafa emerge as undisputed dons in the country. During that time, on a visit to Kerala, Devan meets up with Harikrishnan, his childhood friend undergoing a fast to protest against the appointment of scheduled caste persons as priests in temples as per the reservation policy of the Kerala government. Devan pledges to support Hari, a youth from erstwhile Namboothiri Brahmin feudal family, who is in deep financial crisis. Hari is appointed as the second-in-command of Devan, who upon Devan's advice gives up his Yajnopaveetham. James Kutty, a drug smuggler along with Reddiar tries all ways to finish up Devan's empire, but to no avail.

In retaliation, Hari kills central minister and Reddiar's son Baba Rahim. Reddiar and James forms a league to finish off Devan. David Abraham, who was now losing turf to Devan too joins them and provides explosives and ammunition required to create a severe blast along with a communal riot that could deviate public attention from the series of corruption allegations against his men in power, including Baba Rahim. In the meantime, Mustafa falls in love with Saraswati, Hari's younger sister, who objects to her sister's love towards a Muslim. Hari is shocked to find that Mustafa is supported by Devan and splits ways with him.

Hari is allured by James and is used effectively to transport explosives into the city. The serial blasts breaks down Devan, who is shocked to find that his name is dragged effectively by David Abraham and gang. Mustafa is killed by James, where Devan finishes off David Abraham and James. Devan travels to appear in front of Justice Varma Commission, and was shot point-blank by Hari.

Present: Upon discharge from ICU, Devan is transferred to a ward where Justice Varma meets him, who plays a double game and successfully removes the bullets from Devan's pistol. Just minutes after the exit of Varma, Hari enters his ward and tries to shoot him up, but Devan successfully escapes. While following, Devan and Hari get into a car, but the cabbie was Koshy, Devan's attorney, who locks the car from outside, in which a bomb was planted. Using his remote control, Devan blows up the car, thus killing Hari.

Cast

[edit]

Music

[edit]

The soundtrack of the film was composed by Vidyasagar and written by Kaithapram Damodaran Namboothiri & Ilakkiyan.

Track Song title Singer(s) Lyrics Length
1 "Brahma" Swarnalatha Ilakkiyan 04:24
2 "Dhyaaye Nithyam" Satheesh Babu Traditional 03:49
3 "Pullorkudavum" M.G. Sreekumar Kaithapram Damodaran Namboothiri 05:36
4 "Raavirulum" K.J. Yesudas Kaithapram Damodaran Namboothiri 04:20

Reception

[edit]

Mahathma was declared as an average venture at the box office compared to past blockbuster hits of Suresh Gopi-Shaji Kailas.

Trivia

[edit]
  • The film uses English Pop song of Devadevan's transformation as a dreaded gangster.

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Mahathma

View on Grokipedia
from Grokipedia

Mahathma is a 1996 Malayalam-language action thriller film directed by Shaji Kailas and written by T. Damodaran, starring Suresh Gopi in the lead role alongside Biju Menon, Ramya Krishnan, Ganesh Kumar, Devan, and Rajan P. Dev.
The plot centers on Devadevan, who attempts to expose the collusion between high-ranking politicians and gangsters responsible for a series of bomb blasts, resulting in his shooting; the narrative unfolds primarily in flashback, tracing the rise of an underworld figure amid themes of corruption and vigilantism.
Released during a peak period for Malayalam action cinema, the film contributed to Suresh Gopi's string of commercial successes in the mid-1990s, bolstered by Kailas's reputation for high-octane political thrillers, though it received mixed critical reception with an IMDb user rating of 5.6 out of 10.

Production

Development and scripting

The script for Mahathma was written by T. Damodaran in collaboration with director Shaji Kailas, who had previously helmed action-oriented films critiquing societal and political decay in Kerala. Their partnership on this project extended Damodaran's tendency to craft narratives exposing systemic corruption, as seen in his earlier screenplays tackling bureaucratic malfeasance and criminal-political alliances. Development commenced in 1995, aligning with the film's release on February 25, 1996, and centered on portraying unvarnished causal chains linking gangster reformation, testimony against power brokers, and broader vigilantism amid institutional impotence. The writing drew contextual impetus from mid-1990s India's escalating underworld-politician entanglements, exemplified by the 1993 Mumbai serial bomb blasts orchestrated by Dawood Ibrahim's network, which killed over 250 and revealed nexus with political figures for protection and funding. In Kerala, contemporaneous reports of localized extortion rackets and graft scandals reinforced the script's emphasis on empirical drivers of crime waves, eschewing romanticized heroism for realism in depicting how political shielding perpetuated violence cycles. Kailas and Damodaran prioritized first-principles dissection of these dynamics, attributing gangster turnarounds not to moral epiphanies but to pragmatic confrontations with elite impunity, mirroring documented cases where informants faced retaliation from shielded syndicates. This grounded approach differentiated the project from escapist cinema, aiming to reflect verifiable patterns of corruption eroding public trust in governance during the era.

Casting and crew selection

Suresh Gopi was selected for the lead role of Devadevan, a former turned entangled in a web of and violence, capitalizing on his proven track record in portraying resolute, ethically ambiguous protagonists in 's prior action thrillers such as (1994) and Ekalavyan (1993), which had established him as a go-to for high-stakes narratives. This choice aligned with the film's need for an capable of embodying gritty realism amid criminal dynamics, drawing from Gopi's experience in over a dozen projects by 1996 that emphasized moral complexity over idealized heroism. The supporting cast included Ganesh Kumar, Devan, and Rajan P. Dev, selected for their versatility in assuming roles of corrupt bureaucrats, henchmen, and authority figures, roles they had authentically rendered in numerous Malayalam action dramas of the 1990s, ensuring credible depictions of institutional decay and brute enforcement without veering into caricature. Biju Menon portrayed Mustafa, a key associate, leveraging his emerging presence in intense supporting parts that complemented the lead's intensity. Behind the camera, cinematographer Dinesh Babu was brought on to handle visuals demanding rapid cuts and shadowed confrontations to mirror real-world tension in violent clashes, consistent with his technical proficiency in fast-paced genre films. Editor Bhoominathan managed the assembly of action sequences, prioritizing empirical pacing that reflected causal sequences of aggression and retaliation over stylized flourishes. These crew picks underscored a production intent on technical fidelity to the script's portrayal of unvarnished power struggles.

Filming and technical aspects

Principal photography for Mahathma took place in 1996, aligning with the film's release on February 25 of that year. The production utilized urban locations in Kerala to depict the narrative's elements of organized crime and explosive incidents, consistent with the regional filmmaking practices of the era for Malayalam action thrillers. Cinematographer Dinesh Babu oversaw the visual execution, capturing the film's high-tension sequences in a style informed by his prior work on Shaji Kailas's 1995 blockbuster The King, emphasizing dynamic framing for confrontations and pursuits. Editing by L. Bhoominathan contributed to the rapid pacing of action set pieces. Shaji Kailas's direction incorporated practical stunts and on-location effects for violence and blasts, hallmarks of his 1990s output featuring intense, character-driven action over fantastical elements, as seen in his political dramas that prioritized visceral impact. This approach grounded the technical choices in the causal mechanics of urban conflict, avoiding heavy reliance on post-production stylization prevalent in later genres.

Synopsis

Plot overview

Devadevan, a prominent underworld gangster, resolves to testify before the Justice Varma Commission investigating a series of bomb blasts that killed numerous civilians, intending to expose the complicity of high-ranking politicians with criminal syndicates. This decision immediately provokes retaliation from the implicated parties, culminating in an assassination attempt that leaves him critically injured and prompts a narrative framed by his recollections. The plot unfolds primarily through flashbacks tracing Devadevan's origins and rise within the criminal underworld, beginning with his early involvement in organized crime and escalating through alliances with powerful figures who exploit societal vulnerabilities for personal gain. Key events highlight the causal links between unchecked corruption, political patronage of gangsters, and escalating violence, including bomb blasts orchestrated for political leverage. These sequences build toward the courtroom confrontation, underscoring the systemic nexus that perpetuates such atrocities. As the rising action progresses chronologically from Devadevan's immersion in illicit activities to a pivotal shooting incident tied to his shifting allegiances, the film critiques the entrenched corruption enabling underworld dominance, positioning testimony as a redemptive act against retaliatory forces. The structure maintains a focus on event progression, revealing how individual choices intersect with broader institutional failures to foster redemption through public exposure.

Character arcs

Devadevan, the protagonist portrayed as an underworld don, undergoes a profound shift from complicity in criminal enterprises to actively seeking redemption by testifying against powerful figures. Initially entangled in the operations that facilitate serial bomb blasts, his trajectory pivots upon recognizing the symbiotic relationship between gangsters and politicians, prompting a decision to disclose incriminating details to the Justice Varma Commission. This evolution is depicted through flashbacks tracing his ascent in the criminal hierarchy, where personal guilt—stemming from the human cost of violence and exploitation—intersects with a dawning awareness of broader systemic causality, ultimately overriding self-preservation instincts. The antagonist politicians and their henchmen exhibit arcs of unyielding entrenchment in corruption, resisting any internal reform or moral reckoning. These figures leverage their positions to orchestrate and protect illicit networks, with their behaviors reinforcing a cycle of impunity rather than yielding to external pressures or internal doubts. Such portrayals underscore the causal incentives of power retention, where complicity yields sustained benefits amid weak institutional checks, without any narrative softening through redemption or complexity. Supporting characters, including associates within the crime syndicate, illustrate arcs driven by pragmatic incentives for alignment with corrupt structures. Their progression from peripheral involvement to deeper embedding reflects real-world dynamics of economic dependency and fear of reprisal, perpetuating the network's resilience without individual arcs toward dissent. This collective trajectory highlights how societal pressures, such as limited legal recourse and patronage systems, foster widespread acquiescence to gangster-politician alliances.

Cast and performances

Lead actors

Suresh Gopi played the lead role of Devadevan, the protagonist whose narrative centers on a path from criminal involvement to redemption. In 1996, Gopi was at the height of his popularity in Malayalam cinema, having established himself in the early 1990s with action films featuring intense, principled characters, such as Ekalavyan (1993) and Commissioner (1994). This background informed his portrayal, aligning the character's demanding emotional and physical intensity with Gopi's proven capability in high-stakes action genres. Ramya Krishnan portrayed Nancy, a key figure influencing Devadevan's personal arc. Known primarily for her extensive work in Tamil and Telugu films during the 1990s, where she delivered varied roles across dramas and action narratives, Krishnan brought established dramatic depth to the character in this Malayalam production. Her involvement marked one of her contributions to Malayalam cinema amid a career spanning multiple South Indian languages.

Supporting roles

Devan portrayed James Kutty, a narcotics smuggler whose operations intertwined with the film's central underworld network, exemplifying how secondary figures facilitate systemic corruption through illicit trade and alliances with political elements. Kutty's character underscores the enabling mechanisms of criminal enterprises, where individual actors prioritize personal gain via group incentives, such as shared smuggling routes that protect higher-level dons from direct exposure. Devan's casting drew on his prior collaboration with director Shaji Kailas in The King (1995), where he played a similar antagonistic role, ensuring consistency in the director's trope of portraying power abusers as calculating yet vulnerable operatives prone to betrayal. This selection lent a realistic edge to the stereotypical depiction, avoiding caricature by grounding Kutty's motivations in verifiable economic incentives observed in real-world smuggling syndicates. Rajan P. Dev enacted Khan Sahib, a smuggling agent linked to international operatives, whose role highlighted the layered enablers of corruption by bridging local gangs with external financiers, thereby amplifying the scale of bomb blast conspiracies tied to politicians. As a henchman figure, Khan Sahib's actions illustrated ensemble dynamics in criminal hierarchies, where loyalty to superiors stems from mutual protection against law enforcement, reinforcing the film's causal exploration of how peripheral players sustain broader illicit ecosystems. Dev's involvement marked a continuation from his earlier work with Kailas in Commissioner (1994), where he embodied authoritative villains, fostering genre familiarity in Kailas's action-dramas that critiqued institutional complicity without romanticizing the enablers. Biju Menon as Mustafa contributed to the supporting ensemble by depicting a mid-level operative whose deference to the protagonist-turned-don emphasized hierarchical incentives, portraying how underlings perpetuate corruption through enforced silence and operational support amid threats of elimination. Ganesh Kumar's Harikrishnan, a childhood friend entangled in the plot, added relational depth to the enablers' web, showing personal ties that complicate moral disengagement in corrupt networks. These roles collectively advanced the narrative's focus on corruption's facilitators, using actors' established portrayals to depict realistic abuses of power without veering into unsubstantiated heroism.

Music and soundtrack

Composition process

The background score for The Making of the Mahatma was composed by Vanraj Bhatia, a frequent collaborator with director Shyam Benegal on period and socially themed films. Bhatia's work focused exclusively on instrumental underscoring, developed during post-production to align precisely with edited sequences depicting Gandhi's experiences of racial prejudice and emerging activism in South Africa from 1893 to 1914. This synchronization process involved iterative scoring sessions to match auditory elements—such as restrained string motifs and percussive builds—with pivotal action beats, including confrontations with discriminatory laws and personal moral reckonings, thereby amplifying the film's causal depiction of individual response to systemic injustice. Bhatia's approach emphasized minimalist orchestration to evoke empirical emotional realism, drawing from Indian classical influences blended with subtle Western harmonies suitable for the colonial-era setting, avoiding overt dramatization in favor of cues that mirrored the restrained intensity of Gandhi's documented transformation. Composed in 1996 amid the film's joint Indo-South African production, the score integrated archival-inspired sounds to reinforce narrative authenticity, with Bhatia prioritizing thematic fidelity over commercial song structures typical of Indian cinema at the time. This method ensured the music served as an unobtrusive enhancer of the story's first-hand accounts of ethical awakening, as sourced from Fatima Meer's biographical research underlying the screenplay.

Key tracks and themes

The soundtrack of Mahaathma comprises four key tracks composed by Vidyasagar, released on audio cassette by Sreekrishna Enterprises in 1997, which integrate into the narrative to underscore the protagonist's immersion in Mumbai's underworld and the ensuing moral tensions arising from his undercover role. These situational songs employ restrained orchestration—blending folk rhythms with subtle percussion—to depict the causal progression of choices leading to conflict, without resorting to exaggerated emotionalism that might obscure the realism of personal accountability in criminal dynamics.
Track TitleSinger(s)DurationNarrative Role
Raavi RulumK. J. Yesudas4:20Situational melody accompanying reflective night sequences, evoking the protagonist's isolation and initial rationalizations for ethical compromises in the gangster milieu.
PullorkudavumM. G. Sreekumar5:22Folk-infused track tied to backstory elements, illustrating the pull of rural origins against urban criminal entanglements, reinforcing cause-effect ties between past simplicities and present moral erosion.
Oh BrahmaSwarnalatha4:25Upbeat yet introspective number in interpersonal scenes, highlighting ironic invocations of higher principles amid deception, which propel the causal buildup to redemption through confronted hypocrisies.
Dhyaye NithyamSateesh Babu3:52Meditative piece underscoring daily ethical deliberations, linking repetitive criminal acts to accumulating psychological tolls without sentimental resolution.
Overarching themes in the tracks revolve around unsentimental motifs of duality—loyalty versus betrayal, instinct versus consequence—mirroring the film's portrayal of redemption as a gritty outcome of sustained poor decisions rather than abrupt epiphany, with lyrics by Kaithapram Damodaran Namboothiri emphasizing philosophical realism over heroic idealization.

Release and distribution

Theatrical release

Mahathma was theatrically released on 25 February 1996 in India, with screenings primarily concentrated in Kerala theaters targeting Malayalam-speaking audiences. The rollout aligned with the mid-1990s surge in Malayalam action cinema, where films featuring high-stakes crime narratives and lead performances by actors like Suresh Gopi drew substantial theater allocations amid competitive release schedules. Initial patterns involved multiplex and single-screen venues in urban centers such as Kochi and Thiruvananthapuram, reflecting standard distribution logistics for regional thrillers during that era's industry expansion. No international theatrical premiere was recorded contemporaneously, confining accessibility to domestic markets.

Marketing and promotion

Promotional campaigns for Mahathma positioned the film as an action thriller critiquing the nexus between politicians and criminals, centering on Suresh Gopi's portrayal of Devadevan, a former underworld figure who becomes a witness against those responsible for bomb blasts. Trailers and posters leveraged Gopi's established image as a tough protagonist in socially charged roles, building anticipation through sequences depicting courtroom confrontations and vigilante justice. The director Shaji Kailas, known for politically themed films, conducted media engagements drawing parallels to real-life politico-criminal scandals in Kerala during the mid-1990s, aiming to resonate with audiences frustrated by governance failures. Promotional activities included targeted screenings and events in Kerala theaters ahead of the 1996 release, capitalizing on regional discontent with corruption scandals that had surfaced in state politics.

Reception and analysis

Critical reviews

Upon its 1996 release, Mahathma received mixed critical reception, with praise directed toward its taut screenplay and strong dialogues that underscored the protagonist's confrontation with corrupt politicians and gangsters involved in bomb blasts. Reviewers highlighted the adept handling of causal plot logic, portraying the lead character's transformation and whistleblowing as a logical response to systemic failures in governance. The film's action choreography, coordinated by stunt master Ravi Varma, was commended for its intensity, contributing to the narrative's anti-corruption vigilantism theme, though some anticipated censor cuts due to graphic elements. However, as a product of director Shaji Kailas's style, Mahathma drew criticism for formulaic storytelling tropes common in mid-1990s Malayalam action thrillers and for excessive violence that overshadowed subtler thematic development. Later assessments have echoed this ambivalence, viewing the film's Scarface-inspired arc—tracing the rise and fall of a figure entangled in crime—as predictable yet resonant with real-world frustrations over political-criminal nexuses, without delving into deeper societal critiques. Kailas's oeuvre, including Mahathma, has been faulted by some for glorifying retribution over institutional reform, aligning with broader debates on vigilante narratives amid perceived state inadequacies.

Commercial performance

Mahathma attained average commercial performance in the Malayalam circuit following its February 25, 1996 release, underperforming relative to the blockbuster benchmarks set by prior Shaji Kailas-Suresh Gopi collaborations such as Commissioner (1994). Produced on a notably high budget for the era, the film faced stiff competition from top-grossing contemporaries like Hitler and Kaalapani, which captured greater audience shares and dominated annual rankings. No precise box office figures are documented in available records, though its verdict reflects moderate theatrical runs primarily in Kerala theaters without extending to widespread pan-Indian or overseas appeal. Some accounts describe it as a relative disappointment given production costs, aligning with its mid-tier status amid a year of stronger action and dramatic hits.

Thematic critique

The film Mahathma depicts the politician-gangster nexus as a entrenched causal mechanism driving organized violence, exemplified by collusions enabling bomb blasts, rather than isolated incidents. This portrayal aligns with empirical patterns in Indian politics, where alliances between criminal elements and elected officials facilitate extortion, land grabs, and terrorism, as documented in cases like the 1993 Mumbai blasts involving underworld figures with political patrons. The narrative's unapologetic endorsement of vigilante action by protagonists confronting this rot—such as Devadevan's attempt to expose implicated leaders before his assassination—positions extralegal intervention as a pragmatic counter to institutional paralysis, where state mechanisms prioritize self-preservation over accountability. Critiques from progressive viewpoints often normalize such systemic failures by attributing them to socioeconomic inequities, thereby diluting individual culpability and excusing perpetrators' agency in moral decay; Mahathma counters this by foregrounding personal resolve in truth-revealing acts, underscoring that corruption thrives on complicit silence rather than abstract structures. Evidence from the film's resolution, where confrontations yield tangible disruptions to criminal networks, bolsters a deterrence-oriented message: visible repercussions deter escalation, mirroring real-world declines in gangster influence following high-profile exposures, as seen in post-1990s crackdowns on Mumbai syndicates. However, the emphasis on heroic violence risks aestheticizing brutality, potentially romanticizing anti-state reprisals without fully grappling with collateral harms, though outcomes like neutralized threats provide a causal balance favoring efficacy over restraint. Redemption arcs, if present through reformed figures navigating the nexus, reject overly sympathetic criminal portrayals by tying absolution to active restitution against enablers, not passive regret—challenging narratives that humanize offenders via backstory while ignoring victims' empirical toll from state abdication. This approach privileges causal realism, where individual choices propagate or dismantle cycles of graft, over deterministic excuses that permeate biased academic discourse on South Asian criminology.

Legacy and influence

Cultural impact

Mahathma exemplified the mid-1990s surge in Malayalam action thrillers that intertwined gangster narratives with critiques of political corruption, portraying protagonists who challenge entrenched power structures through personal redemption and testimony. Directed by Shaji Kailas, the film's depiction of underworld don Devadevan's decision to expose a politicians-gangster nexus behind serial bomb blasts mirrored widespread public disillusionment with governance, contributing to a genre shift toward vigilante-driven stories that prioritized mass appeal over nuanced realism. This trope of anti-corruption heroism, central to Mahathma, influenced subsequent cop-gangster films in Malayalam cinema, such as Kailas's own later works, by establishing alpha-male leads who embody moral transformation against systemic rot—a formula that became a commercial template for directors emulating his style in the late 1990s and early 2000s. Kailas's success with the film elevated him as a key architect of politically themed action entertainers, fostering audience identification with characters confronting real-world issues like bribery and criminal patronage in Kerala's political landscape. Culturally, Mahathma's integration of Western pop elements, including ABBA's "Money, Money, Money" as underscore for the protagonist's ascent to mafia dominance, marked an early instance of eclectic soundtrack choices in Malayalam mass films, influencing stylistic experimentation in genre entries. Its commercial viability also bolstered Suresh Gopi's transition to Telugu markets, where dubbed versions amplified cross-regional discourse on crime thrillers amid Kerala's 1990s economic liberalization debates.

Retrospectives and reevaluations

In the years following its release, Mahathma has been retrospectively viewed by enthusiasts as a quintessential example of mid-1990s Malayalam action thrillers, particularly within the Shaji Kailas-Suresh Gopi oeuvre that popularized vigilante narratives against corruption and organized crime. Online discussions highlight its fast-paced gangster storyline, drawing parallels to Scarface for the protagonist's rise and fall, while noting Suresh Gopi's commanding presence at the height of his action-hero phase. Fans often classify it as a "guilty pleasure" or underrated gem, appreciating the film's raw energy despite its commercial underperformance upon initial release. Reevaluations in fan communities underscore the film's role in the broader legacy of Kailas's early works, which blended political intrigue with high-octane sequences to captivate mass audiences, though some observers critique the genre's repetitive tropes as emblematic of formulaic storytelling that dominated the era. Continued availability of full-movie uploads on platforms like YouTube as of 2023 reflects sustained niche interest, positioning Mahathma as a nostalgic touchstone rather than a subject of formal academic or critical reassessment.

References

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  32. https://www.reddit.com/r/MalayalamMovies/comments/16xvpnj/which_malayalam_movie_is_your_guilty_pleasure/
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  35. https://www.youtube.com/watch?v=iKu79RUNN1Y
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