Maddy don't over react. :)
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Maddy don't over react. :)
Ilayaraja , Rahman,Ravi.k.chandran,p.c ivangaloda best nu partha, athu manirathnam padama than irukum.
Avar introduce panna technicians n actors parthale avoroda taste theriyum.i think hs best contributions are A.R.R n Madhavan.Avar padatha parkum pothu sila thavaruhal therinja kuda marupadi marupadi pakanum nu thonum.
BTW what is there in the article. Can someone post the article :roll:
An interesting article with an interesting parallel:
http://passionforcinema.com/anjali-mockingbird/
P.S: I didn't like Anjali all that much. To me, it's out of Mani's elite league..
Thilak,
avatar super as usual! edhula varradhu idhu? conpees
Pesum padam Just when Kamal and Amala exchange that (superb) romantic glances, before Kamal calls the other end, and kisses through the phone to her mom, and gets some music :rotfl:Quote:
Originally Posted by crajkumar_be
Yes, I do agree that line from the terrorist is inexplicable. (Is he pointing out to Amar that the latter is no different from him in showing "resistance"? After all, Amar is also asking them to "join India.") But, his retorts at Amar's questions are well handled. Like when Amar expresses his surprise that the leader looks like "us." The viewpoints expressed by both sides are a tad simplistic indeed, but that's fitting. Amar is an AIR reporter who wants to find out how people of India feel about 50 years of independence, but is hardly able to "see" those people of India.Quote:
Originally Posted by Prabhu Ram
You're being too kind, of course. I was recalling how Amar, a Delhi-based ("central Indian") male (fittingly, he works for All India Radio, Delhi), falls in love with, and chases a mysterious, inaccessible female whom he meets in one of those "marginal" states. SRK plays an enthusiastic AIR reporter who's thrown in a world he just doesn't understand. He's often predisposed to be make light of many of the life-altering everyday realities of that place. This merges seamlessly with the feminist narrative of a "ain't-I-cool" romantic man's relentless pursuit of a quietly mysterious woman, a "femme fatale" who has other things on her mind. He teases her, chases her, the sexual tension is there right from the beginning. But, why is she a femme fatale? He says, he isn't able to "understand" her how much ever hard he "tries." But, apart from asking for her hand "like a man" unceasingly, what does he do to "access" her? These feminist overtones reflect the undertones of "resistance" to the "national" hegemony we see in the film. Meghna might be in love with Amar, but she has to fight that, fight him even, if she wants to retain her own self. The denouement of the feminist narrative is disturbingly cynical. Which also brings the "national" narrative to an abrupt end leaving several questions unresolved.Quote:
Originally Posted by Prabhu Ram
Philip Lutgendorf's review of the film is an illuminating read in that it discusses about some of the buried motifs of the film.
Beautiful post equanimus :thumbsup:
Great link as well. For some reason I am reluctant to immerse myself in the search for subtexts in Maniratnam films. Cigar is a cigar etc.
But I I particularly enjoyed the one about the way in SRK's persona was used to present the male/nationalist patronizing love. I had never thought of it that way.
For instance, I would never think of any allegory nationalist or otherwise that would explain Maniratnam's ending. That mutually assured destruction is the fate ? That exposing the fringe for what they are will be taken as violation of rights in the eyes of justice ? (Oops my right wing slip shows !)
The ending, to me, it is incredibly attractive as the only possible end in the Amar-Meghna love story. It was just not meant to be but that's the way it happens.
The explanatory drawl of Srinivas's ("indha kaadhalil maRNam dhaan.....") is typical MR. :mad: EngaLai konjam nambunga saar. Gavanamaa padam paarppOm.
SRK's character sketch clearly borrows heavily from his popular onscreen persona. What is striking is how cold and inaccessible Manisha remains throughout the film, which leads to SRK's frustration. (That doesn't stop him from agreeing to an alliance with Preity Zinta, however.) That's why, I think, the feminist overtones are strong in the film.Quote:
Originally Posted by Prabhu Ram
Prabhu Ram,Quote:
Originally Posted by Prabhu Ram
As I've already admitted, the denouement does bring the "national" allegory to a very abrupt end, which leaves several questions unanswered. As if the director has a marked indifference to it. But, the juxtaposition of the (male-female) love story with a "national" story, I think, is potently constructed. (And, then, there are some little things. Like why Preity Zinta is specifically shown to be hailing from Kerala, and not some generic "Hindi-speaking state" like Bombay or Delhi.) I think it'd be fair to call the denouement in the wake of the "national" narrative, a "creative failure."
which is why the film worked for me :D .......i could never view it as a complete obsessive love story standalone or as a movie having interesting comments on nation's status, on the other hand......it was the juxtaposition of both the themes which was mesmerising, compels me into viewing it multiple times.......Quote:
Originally Posted by equanimus
and i love the way SRK's character was built......that naivety stays throughout the film......right from his over-the-board compering for a normal AIR show to chasing a unknown girl into deep, interiors of India....then in the second half when manisha narrates her past, he just shrugs off in a "what-can-we-do-now" manner........to being completely oblivious of his marriage arrangements, i think it was superb....
from equa's link :
noothula oru comment.......throughout the film, theres a sense of dis-location..........Quote:
further heightening the overall sense of dis-location, and suggesting the impossibility of realizing romantic fantasy in the midst of oppressive contemporary realities