How Maalai Nerathu Mayakkam became Irandam Ulagam
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Love has different types and according to its type it takes a form. Eventhough Love is broken into 4 major parts, the sentiment we get thru Love forms its types. The 2 types, affection and intimacy defines a relationship. Each has its own abtract connections like commitement or infactuation which drives the human body to its goal. The other dimension of Love co-exists where you see a face when not experiencing the positive side of Love. For exemple envy or obsession. All of them put together forms an universe by itself bonded by emotions which is blossomed by either the presence or the absence.
Here is a film maker who wish to tell us this complex mechanism thru 2 thing, his understanding and his expectation. Thus Irandam Ullagem is born. The 2nd world itself is a world broken into 2 - a loveless one and a hatred one. Here its interesting to note that hatred was born even before love - its seen that through chaos hatred self seeds itself, and this word chaos is a primary word for Parallel universe. Thus comes in our world, the one we are living in. Its made of a mixture of all the types of Love and its side effects. So you already got 3 type of worlds here : mixed world, loveless world and hatred world. Now, if we take the love from the mixed world and put it in the loveless world to defeat the hatred world - is it possible ? Yes, it is, according to the film maker. The God of faternity works night shifts to bring in a process which permits this theory to happen. She plots a chaos in the mixed & loveless worlds, which activates the key to open the mystical portal where the 2 worlds meet for a fraction of a second. Not stopping there, she uses the mixed world's love to mingle with the loveless couple and make the 'Need' which was absent in the 'Desire' to bloom, thus supressing the hatred world.
There is much much more to it but keeping in mind the universal thumbs down for the film, I rest here. Irandam Ullagam may have missed to ignite the interest of many, but when properly allowed to, it could have casted an ever bounding spell. Key : There is always much more than the regular eyes meet.
Irandam Ullagam : Bold Fantasy-Fiction
Interesting point you have made mappi. I am sure Selvaraghavan is not your everyday NYSNYD film director. But as any CEO will tell you, its the results that matter.
In filmmaking the three most important things are execution, execution and execution.
Good points Mappi. Looks like you are trying to defend Selva. But Selva is in a very confused state of mind and it is very much visible in this movie.Quote:
Originally Posted by mappi
:lol:, heard earlier that most important thing in a film is "Entertainment, Entertainment and Entertainment", idhu Pudhu philosophy-ah irukkaE ..Quote:
Originally Posted by NOV
Dedicated to Selvaraganvan
http://www.youtube.com/watch?v=oUmCBf_OUss
Worst of Selvaraganvan, only 10mins before intermission can smell him...
CR,
I am not defending SR or IU, the damage is already done to both. I am just saying that we could have been more lenient towards the movie. Moreover, I just gave the layout of the movie, not in defense, but for those who are going to see the movie. Now they have 'some' material to look into. And I absolutely do not mind if they dislike the movie.
Nov,
Personally I did not find anything weird or warying in the execution. The story taken was well crafted with situations, by making a huge point in characterization and establishing their contrast. Exemple :
Madhu's father is physically challenged and places all his bets on his beloved son, where as Maravan's father challenges everyone physically and hates his son for what he is.
Ramya is surrounded by family and friends and lives inside a self-made or social cirlce, where as Varna is an orphan, all alone by herself without any boundries.
Likewise, the romantic parts and the proposals are parrallelly narrated which have striking resemblance not only circumstantially but in visuals too. SR has given much importance to the costumes and colors to match the visuals of the 2 worlds and sustain the continuity. The narration can be split into 3 important phases : the couples in each world, the portal and finally the unification. So you have romance, spirituality & peace after war. These thing were stretched with main stream elements during execution. The assemblage was neatly done. Highlights are sequences starting from the dog until Madhu reaches the 2nd world, which were crisply handled. For me, all these are "execution".
Not that I just want to talk about the good things, the film has its faults. The major one is not that the film is complex but it being quite brutal. See, you have fantasy tugged into reality, making a philosophical circle on the spiritual path and suddenly meeting the center, to the point which it initially wanted to make. Now with that, how can you convince the audience when the rhythms chosen are contrast to each other ? To make things worse, you got story within a story like the "puranas" style. Even though its quite understandable, it stresses a lot the viewership.
:lol:Quote:
Originally Posted by Cinemarasigan