Films of Mani Ratnam

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Originally Posted by Prabhu Ram

The explanatory drawl of Srinivas's ("indha kaadhalil maRNam dhaan.....") is typical MR. :mad: EngaLai konjam nambunga saar. Gavanamaa padam paarppOm.

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:rotfl: in hindi it comes as - mujhe maut ki godh mein sone do.........which does sound a more personal comment than a general comment on love.......

the romance between mohanlal and aishwarya rai in inruvar is very underrated

my most favourite among manis movies...so beautiful

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Originally Posted by equanimus

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.

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I may sound like a chronic critic, but I don't quite understand. Could Manisha's character have been any different? Or for that matter Shah Rukh's? I think the bottom line is the portrayal of love between a rebel and a conformist. The same parallel, that of hegemony and resistance, could have been interpreted in any other setting, IMO. Coming to think of it, would role reversals have worked? I don't think so.

As for bringing the "national" narrative to an abrupt end, isn't that his wont? Has MR ever been clear about "national" issues in any of his movies?

All that said, I liked 'Dil Se'. This, along with 'Kabhi Haan Kabhi Naa' and 'Maya Memsaab' will remain my favourite Shah Rukh movies.

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Originally Posted by kannannn

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Originally Posted by equanimus

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.

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I may sound like a chronic critic, but I don't quite understand. Could Manisha's character have been any different? Or for that matter Shah Rukh's? I think the bottom line is the portrayal of love between a rebel and a conformist. The same parallel, that of hegemony and resistance, could have been interpreted in any other setting, IMO. Coming to think of it, would role reversals have worked? I don't think so.

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Kannan,
Isn't that the point? That a role reversal wouldn't have worked? Also, I don't quite see this as a love story of a rebel and a conformist. I think that far simplifies the crux of the story that Mani constructs.

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Originally Posted by kannannn

As for bringing the "national" narrative to an abrupt end, isn't that his wont? Has MR ever been clear about "national" issues in any of his movies?

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Your point is well taken. In my reading of the political films of Mani Ratnam, he raises all relevant "questions," and betrays a stubborn diffidence to offer a coherent "resolution," or be fully "clear" as you put it. This often works fine for me, at times even intrigues me. Moreoever, the films in which he does offer some sort of "resolution" (Roja, Bombay), it's not only abrupt, but also extremely weak. (In Roja though, that should be the last of one's concerns. There are bigger problems there, like the unbridled celebration of pop-nationalism.)

P.S.:- When I say "coherent resolution," I don't use it to suggest a simplistic resolution or something to that effect, but an overall relevant "meaning" out of all that we see in the film.

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Originally Posted by Vivasaayi

the romance between mohanlal and aishwarya rai in inruvar is very underrated

my most favourite among manis movies...so beautiful

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It is difficult to explain such a portrayal,supposedly between Late x and present y.I would rate the acting of Aishwarya rai in the scene after she awaits ML in Thiruthani(or some temple)as her best ever.She looked very very pretty too....girls are lovely in a saree....! :P
But the "macham" scene was a bit vulgar IMO.Rest were okay...the voice of her was a bit defying also,something which made me feel "anniyam" after some of her later movies.(Trisha's dubbing voice is the only convincing match to me)The romance between Aish no 1 and Lal is simply superb...especially those scenes in between the 'Narumugaiye' song.I didn't like the way MR put an end to Aish.

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Originally Posted by equanimus

Kannan,
Isn't that the point? That a role reversal wouldn't have worked? Also, I don't quite see this as a love story of a rebel and a conformist. I think that far simplifies the crux of the story that Mani constructs.

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This is going to sound like a circular argument, but the characterisations in any other way couldn't have worked. So, my point is, there is nothing extraordinary in that.

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Originally Posted by equanimus

In my reading of the political films of Mani Ratnam, he raises all relevant "questions," and betrays a stubborn diffidence to offer a coherent "resolution," or be fully "clear" as you put it.

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'Diffidence' - ellam illai. I don't think he understands the issues clearly :D .

Anyway, this is turning out to be another endless debate. As is the motto of the Hub, 'let us agree to disagree' :D .

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Originally Posted by Vivasaayi

the romance between mohanlal and aishwarya rai in inruvar is very underrated

my most favourite among manis movies...so beautiful

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More to do with Ash's freshness in this film(this being her debut) and Mohanlal's gracefulness me thinks. They pulled it off. For a change, we don't have to wince.

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Originally Posted by VENKIRAJA

She looked very very pretty too.

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I second this about Ais-u of the time...

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Originally Posted by kannannn

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Originally Posted by equanimus

In my reading of the political films of Mani Ratnam, he raises all relevant "questions," and betrays a stubborn diffidence to offer a coherent "resolution," or be fully "clear" as you put it.

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'Diffidence' - ellam illai. I don't think he understands the issues clearly :D .

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That's what I meant, actually. That he's diffident -- lacking confidence in his ability to understand the issue. It's like, he's admitting that he's not totally clear about the issues himself.

One thing I noticed about Mani's films is that inspite of being a trend setter, most sought-after director etc., he has not shot even a single song sequence in a foreign location unless and otherwise the story demands it (a song in Russia in Guru). Is it a plus or a minus ??? I dont know.

Another general point I woul like to share here is, when a creator makes a movie based on historic events, audience simply ignore it in the BO if it is based on the darker sides of history. A classic example I would say is Hey Ram (Hindu-Muslim riots). Either the audience feel that they have a moral responsibility or they must be ashamed. You can probably add Schindler's List also.

On the other hand, if glorious parts of history is made into a film it will get tremendous response eg. Veerapandia Kattabomman.