But Time Magazine included Nayagan in its list of "All-Time 100 Best Films". :)Quote:
Originally Posted by Anban
But Time Magazine included Nayagan in its list of "All-Time 100 Best Films". :)Quote:
Originally Posted by Anban
It surely will be. Even without time Magazine's listing, its a landmark film not just in TFI but for whole Indian FI. Thatswhy kamal writes about a film as it completes 25 years. Its not even his own direction.Quote:
Originally Posted by Anban
Just because rahman won oscar for ' Jai ho', will it become HIS best number for that year?Quote:
Originally Posted by venkkiram
Why he wrote about 'one' of his good movies is the question?Quote:
Originally Posted by sakaLAKALAKAlaa Vallavar
So you want him to write all the 250 films?!? Whats wrong in writing about one film? Does that mean his other films are not good?!?
16 V and Sagara Sangamam are as significant/Good as Nayagan. Is he going to write these anniversary articles for Thevar magan Guna, and Mahanadhi ?Quote:
Originally Posted by sakaLAKALAKAlaa Vallavar
I understand if he writes for a Thevar magan - thats much more relevant considering that he wrote,produced and starred in the movie.
Athu thaan kekkuren, is there any rule that he shud write about this much no of films? Above all, he is not a retired to keep on writing too much.
Its not easy to list Kamal's top five :-) HCKH fans will definitely prefer his home productions and ghost-directed movies. But for a common kuppan or suppan, Nayagan will probably be among the 3 best Kamal movies.Quote:
Originally Posted by Anban
As a fan soldren sakala.When you have better movies in your oeuvre, why highlight this!Quote:
Originally Posted by sakaLAKALAKAlaa Vallavar
Thanks to NI media(and the epic Dayavan), Nayagan has a wider reach than 16V or Sagara Sangamam.Quote:
Originally Posted by Saai
Ignorance is blissQuote:
Originally Posted by venkkiram
+1, Nayagan has a wider reach than any of his movies.Quote:
Originally Posted by hattori_hanzo
It may not be in the best 5 of many HC Kamal fans. It is a landmark film for Kamal, he himself mentioned many a times. In fact, his best phase in Cinema started from Nayagan..
Quote:
Originally Posted by Saai
Thatz coz the success of Nayagan elevated him to the next level..........encouraged him to step it up, do more experiments...... to free from the clutches of the "Kaadhal ilavarasan" tag and from all those garam masala movies post Sakalakala vallavan........ he would have anyway come to that level on his own.........but it would have taken few more years..... Nayagan hastened that process....i believe....
Ivar yenna solla varrar....? http://www.thehindu.com/opinion/lett...cle4044738.ece
I read the article by Kamal Haasan “Of course Velu Nayakan doesn’t dance” (Magazine, Oct. 21) and the rejoinder “Living in past glory” (Oct. 28) by filmmaker Muktha V. Srinivasan on the making of Nayakan. I too am connected with the film industry although I am nowhere near Mr. Srinivasan in terms of experience and output. As one who was in a position to advise both Kamal Haasan, my brother, and Mani Ratnam, my son-in-law, I did advise them on film-making on many occasions. Had they listened only to me, they would not have attained this level of success. Film-making changes with times and it is our duty, as senior citizens, to accept that. The next generation always does better.
S. Charuhasan,
:lol: kuRumbu kuRumbuQuote:
Originally Posted by sharav
Hassar to intree Ang Lee :-|
ennayyA indha aaLu.
I remember in 2000 I was so disappointed and annoyed and irrirated with Crouching Tiger making the Oscar cut that I wrote something about how Hey Ram deserved it more.
Friends,
There is a lot of discussion on Nayakan nostalgia by Kamal. I was just a spectator and just wanted to share my views on this.
The year 1987 was a landmark year for film buffs, and the film society movements in South India, esp. Madras. Though there were Societies functioning, it was the CHENNAI FILM SOCIETY, that took the initiative to enlighten the film connoisseurs (pardon me if there is spelling mistake) and organised a TEN DAY Workshop. It was a first of its kind in that it was on a big scale. Many stalwarts of today's cinema were delegates. The ten days workshop had part of it, discussions in the morning on previous days screenings, followed by lectures, demos, and evening again screenings. Many international classics which were deemed grammar of cinema were screened. And the delegates were fortunate to have the screening of NAYAKAN, on one of the days. The remarkable workshop was conducted with the co-operation of National Film Archives of India, National Film Development Corporation. Mr Chandran Nair, then Director of NFDC, Mr P K Nair, then Director of Pune Archives, were kind enough to give lecture demos on the evolution and theory of cinema. Mr Hariharan went in depth on the classic BATTLESHIP POTEMKIN.
In fact I would like to write more elaborate but some may feel out of context. But the reason to write this, is at the end of Workshop, it was Nayakan that stole everybody's heart. Ever since then it turned to be a role model and pioneer for discussion on cinema in various film clubs in South India. No wonder it is being mentioned by Kamal now because the year 1987 did deserve a nostalgic appreciation for its contribution to Chennai film buffs. Because Kamal was also part of the Workshop.
This may be one of the reason why Nayakan took centrestage for its landmark in completing 25 years. It may also be deemed as a landmark film for film society connoisseurs of Madras.
Quote:
Originally Posted by Cinemarasigan
I have come across many NI folks. They remember Kamal by Saagar, Ek tuje keliye and Sadma. They are not aware of Nayagan first of all. We are extending its popularity just by its huge impact in TN. He was an all Indian icon even before Nayagan.
Anyday, Sadma/Saagar/Ek Tuje keliye has a wider reach in India than Nayagan IMHO.
True, the movies which you listed, along with Pushpak and Chachi 420 are better known in NI and other parts of India, than Nayagan as they are all straight Bollywood ventures (except Pushpak). Nayagan initially was known as the 'better Dayavan' but later its popularity increased manifold when Mani became famous in Bollywood. It was dubbed in Hindi as 'Velu Nayakan' in the late 90s.Quote:
Originally Posted by Saai
In terms of popularity outside TN, Nayagan > Thevar Magan, Mahanadhi or Guna.
Indian aka Hindustani aka Bharateeyudu very much popular huge hit everywhere Hindi,Tamil and Telugu
Namma aalu viswaroopam release pannura varikkum post panna venaamnu irunthen. Anyway, ......
Enjoyed KH article on Nayakan. No doubt, it was a landmark film. I do agree with Anban et al that Nayakan may not rank too high in KH great films list, but one has to always remember that the bio epic of the underdog turned underworld don anytime has a more impactive "landmark film" feel and reach than the story of a quadraplet brothers comedy of errors or an alcoholic cirrhotic classical dancer or a silent dark comedy or a series of unfortunate events in the life of a middle aged widower or a rustic gened NRI getting entangled in a casteic family feud.
So, no problem sir. write more such articles on more of your films. He wanted to be frank in his approach .... yes ..... but attributing Maniratnam"s myocardial infarction @ heart attack to stingy old time producers @ Muktha was a bit in the red zone.
bang on!Quote:
Originally Posted by rsubras
idhuvum bang on! ...http://articles.timesofindia.indiati...lm-mani-ratnam - it has inspired directors all over the countryQuote:
Originally Posted by sakaLAKALAKAlaa Vallavar
Team Maiam Update:
KH meets with Ang Lee today - the renowned Hollywood director of famous movies such as Crouching Tiger Hidden Dragon, Brokeback Mountain and Sense and Sensibility.
Yesterday KH watched an exclusive premier show of Ang Lee’s new film, Life of Pi. The film is adapted from the book written by Yann Martel and was partly shot near Pondicherry.
Guys see the Fox Studio Logo in the background! :) Anban, ithai pathi neega enna solla verumbureenga :)
Already antha arm production launch appove sonnen .. i am having big doubt from then.
Ethu?? Vera entha padathulayum commit aana maathiri news varalayee?!? Naan thaan miss pannittena?!?Quote:
Originally Posted by Anban
andha FOX logo ang lee direct panni release aagappora padathhukkungo !
Poo nnum sollalaam, puippam nnum sollalaam! appadinnu naalaikku anban vanthu cryptic aa post pannuvaaru (appadinnu nambuvom! :lol: )
That Nayanathara movie launch. ARM was the producer.
Oh that aa! That Nayan poster :lol: marakka mudiyaathathu!
Thanga changili.... Minnum Paingili..... Adhuva Sakala? :confused2:Quote:
Originally Posted by sakaLAKALAKAlaa Vallavar
:lol: :thumbsup:Quote:
Originally Posted by radiochandra
Will be crossing Thalaivar's ooru in 10min.Can't stop for tea also,usual Thevar Vs Dalit conflict a couple of days back.
Adhe dhaan! Ennaa villathanam! Antha sangili kaila kazhuthua maatti irunthaa orupaya mathichirukka maattaan! :lol2:Quote:
Originally Posted by sharav
So sad :(Quote:
Originally Posted by Cinefan
Just thought of sharing..... Three years back, a channel conducted a poll on the most fav tamil movie of all time and Thevar magan raced ahead of nayagan as people's choice :-) Thevar magan also has an epic feel atleast IMHO.Quote:
Originally Posted by radiochandra
Now this is doing Rounds! Namma Docter Radiochandra pola thaan ivarum :)
http://kbalakumar.com/?p=1941
‘Of course Sakalakala Vallavan doesn’t sell sorakkai’
Nov 1st, 2012 by K Balakumar.
By Kamal Haasan Clone
(Exactly 30 years ago, the groundbreaking Sakalakala Vallavan was released. It has since been voted as one of the top 100 films that nobody knows how and why they became box office hits. For the record, Chinna Thambi tops the list)
Whether it’s Alexander The Great or Iruttu Kadai Halwa, it starts off with just the name, without the glory it attains. Sakalakala Vallavan was no different. We never thought whether it would make it to the Newsweek’s 100 Greatest Films ever or not because Newsweek doesn’t publish such a list. We just wanted to make money.
Perhaps due to the fact that I had dropped out of school, I’ve had many movies that the educated public would find absolutely cringe-worthy. And most of my movies of that type have been directed by SP Muthuraman sir, who eventually became SPM sir. I knew SPM sir was the brother of Subha Veerapandian, a diehard Periyarite and a DK activist. But he never threw this fact in my face most probably because of the kind of films he was making.
This was the time I was acting in Moondram Pirai, which came out in the same year (1982). SPM sir did not concern himself with such films where the hero, rather than walk up to the heroine and tell her that it was him who had taken care of her when she was down with amnesia, makes monkey faces at her hoping that she would recognise him. SPM sir said he would never be caught making such a movie. At that time, SPM sir was seeing the re-runs of many MGR films. We kept discussing those films. We were all fans of MGR and Periya Idathu Penn. We wanted to make a film like that. And we ended up making a film exactly like that.
Later, too, when I made Thevar Magan in 1992, I realised I should have asked SPM sir to direct it. It was his cup of tea. In the sense, he would have lent his name happily while letting me to do the actual direction.
AVM Saravanan of the AVM Studios, with whom I had my debut, wanted to make another film with me. They suggested SPM sir’s name. I was amused. Because at that time, people usually told me about the heroine and not the director’s name.
SPM sir did not tell me any story. He never had any. We just had to assume it. I thought this was the way to go as you can improvise on the day while shooting. AVM Saravanan, who had a reputation for having his arms folded, did not believe in spending on stories. He just wanted us to make a film — any film — that would not bring a bad name to his famous production house, which had enjoyed the consistent patronage of the respectable family audience, the kind among whom Nethu Rathri Yemma and Nila Kayudhe would be a huge draw.
The way SPM sir was filming the movie, providing me lines in English that I could practice my now famous and ludicrous accent on, and that lurid disco dance, I knew this was the kind of village subject that we all dreamt of making. During the shooting of early scenes, I told SPM sir that I would not do the village market scene. And SPM sir agreed. Earlier in my career I had done many village movies, like 16 Vayadhinle,where they rung in the rural ambience by having a rambunctious village market scene. When I expressed my reservations on the market scene to SPM sir, he simply said, ‘Of course Sakalakala Vallavan doesn’t sell sorakkai’.
At some point of the film’s shooting, I decided that to get into the character, I needed a bike for the dance sequence for the song Ilamai Idho Idho. But when the time came, SPM sir was standing there glumly, and the cameraman Babu was sitting with his head in his hands. I thought there was a technical glitch. I said, ‘what is the problem? I’m ready. So are the colourful lights behind that are going on and off signifying that this is a fun night club even though nights clubs that I know of never look like this, and at any rate, Chennai has heard of no night club in the 80s that the film is set in.’ SPM sir forlornly showed me a small note from the producer saying that there will be no petrol for the bike. This was the producer’s way of making sure we shot responsibly, without going overboard with takes. I was livid. I called my office and asked them to bring a big can of petrol in 20 minutes, and in those 20 minutes I was ready to dance on the bike.
Sakalakala Vallavan was one of the films —- along with the likes of Maria My Darling, Andha Oru Nimidam, Per Sollum Pillai —- that made me decide that I should be doing more masala movies. Apart from being easy, they also provided good money. I was nearing middle-age. I thought, “If I don’t do earn now when will I make money?” After wrapping the film, I was so happy that I took Sarika and went for a walk around the empty set where they had shot Nethu Rathri Yemma.
I am always asked when SPM sir and I will work together again. I don’t know if we can summon up that same feeling of doing a film for the pleasure of making money. Now there’s too much pressure. And I don’t blame SPM sir. He’s been so tormented that he wouldn’t want to add to it by doing a film with me again.
(Disclaimer: Waiting for a rejoinder from AVM Saravanan, which we hope is not a legal notice)
(Disclaimer 2: This is a remake of this piece)