Sindhanai Selvar Dr.Kamal HaasaR - favourite movies,scenes 2

Quote:

---

Originally Posted by SoftSword

oorvasi, rohini - u don prefer personally ok...
but indha rendu actors'ayum mattha gang'oda sekkuradhu sari illa... they give their best for the roles they re given..

---

I am not talking of their talent. What I am saying is, he should avoid being repetitive. I am tired of seeing this kind of faces in his movies.

P_R, equa. It seems you don't have to watch the film again. Every dialogue, visuals, the motive, the motifs, insights, all are permanently etched in you and comes out as soon as we raise doubts/questions. Thoroughly enjoying your posts and insights. :clap: Excellent write-up equa.

i dont see kamal repetitive unless he does a comedy film...

Quote:

---

Originally Posted by SoftSword

i dont see kamal repetitive unless he does a comedy film...

---

Ovvorutharukku ovvoru vithamaa repetitiveness theriyuthu. That's not a good sign. I want him to avoid that and I am expecting VR to be different.

The naming of 4 Muslims terrorist in UPO again was hilarious.. naalu paerukkum rhyming'a 'ullah 'ullah-nu mudiyura maathir paer vechiruppaar. It was a very juvenile (but less juvenile compared to the dialogues between Lal and Lakshmi)

Since we're talking about the film's ending, some fragments of thoughts:

Quote:

---

Originally Posted by equanimus

Regarding mahAnadhi, it's debatable whether the ending is tonally inconsistent or not. I don't think it functions like a regular "happy ending." In fact, it's radically matter-of-fact in a sense. Remember, the film cuts to several years later. What makes us think they should still be wallowing in misery? In fact, that's precisely the mode in which standard tearjerkers work. If this were a regular melodrama, there would have been a more definitive full stop put to the lives of at least some of the characters. Krishna himself 'descends' into seeking retribution but is able to redeem his old self in some ways. Also, Kaveri carries on with her life, which is a radical departure in every sense.

And the idea that it's a "picture postcard" ending doesn't hold water at all. Firstly, does it really look like an afterthought? I'm not sure. The film ends where it began, with Krishna's children taking the plunge this time into what life has in store for them. It is not designed to make us 'forget' the past; on the contrary, it is designed to remind us of it. Even in a formal sense, the film doesn't play out that way. It doesn't employ handy techniques like closing with the image of a happy smiling family or something to that effect, but actually cuts to a bird's eye view of the river, pans across the bridge where they are standing and moves away from them along with the river and fades out with a panoramic view of the river bank. As I see it, it is more of a hopeful footnote to the epic arc of the film. The grandchild here is the Parikshit figure who is 'born' at the end of the epic and would carry forward the story. The film offers a closure that is squarely in the tradition of Indian mythology where nothing quite ends in and of itself.

---

Quote:

---

Originally Posted by equanimus

Absolutely. I wanted to touch upon this in a subsequent post. The recurrence of the "தையந் தையந்" chant and the theme song, which runs through the film as Krishna goes through the motions of life, as if it were the 'song of (his) life' itself, as the film draws to a close is crucial in the sense that it invokes all of his past life. None of it is simply a bad dream that's over.

---

That is, by the way, primarily in response to a common criticism about the film's ending being a cop-out of sorts.

Lovely posts equa (ellAm pazhaya murukkuthEN-di) :clap:
LightA worku...evening revise paNREn.

Quote:

---

Originally Posted by Nerd

On that Punjabi line, I see where you are coming from. But I don't know how to explain but thats not something I would quote to claim how deep the film really was, because there is no alternate path in that case.

---

pommanAttiyA irundhuNdu - I felt was consciously crafted it. Just like that passing shot where he shows a girl, who asks her friend to pay for today. It is normal - you pay today, I'll pay you tomorrow -situation. But the import in that particular scene elevates it a lot.

Quote:

---

Originally Posted by Nerd

Its sort of a win-win situation but I agree to the fact that the scene offered such a beautiful platform for the characters to say layered dialogues.

---

adhE

Quote:

---

Originally Posted by Roshan

Kadavul topic, name gimmicks, Ramesh Arvind, Santhana Bharathi, oorvasi, rohini - intha maathiri sila pazhakkangaLa vittu veLiyae varum naaLai aavaludan ethirpaakkiRaen.

---

:roll:
Usual suspects vachchu enna seyyuRaar 'ngradhu dhaanE pArkkaNum.
pala vidhamAna edhirpArppugaL. Kamal ennadhaan seyvaarO!

Kamal to me: naama buyers-saiyum happy paNNi aagaNum, customers-aiyum happy paNNi aagaNum....business trend theiryaama pEsureengaLE