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24th January 2005, 04:18 AM
#11
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Well, I recall someone telling me that there was another version. It's seems like the perfect movie to have to climaxes of. Both would have suited the story, but I felt that the ending where they both died was better, and in essence made it a memorable film.
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24th January 2005 04:18 AM
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24th January 2005, 07:30 AM
#12
Senior Member
Diamond Hubber
Yes! I saw both the versions.. But I dont think the second version is an approved one by KB.
In some southern districts, they just cut the las scene, and showed something like baskets on a road ( meaning.. the baskets with bomb is not in the car) and then the song..."jingala jinga".. ....
to make you think that bomb is removed from the car and the couple is happily living thereafter... this one was shown in some theatres and later removed..
the originla version is the end of hero and heroine and still going on in all places.
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24th January 2005, 09:39 AM
#13
Administrator
Platinum Hubber
Originally Posted by
RR
NOV: no idea about the movie except the songs (& Rani chandra's death). There's one sirkazhi song rite?
I too have heard of the song, Odugiraal urulugiraal by Sirgaazhiyaar, but it was not there in the movie. The climax was immediately after M.R. Vijaya's song.
Never argue with a fool or he will drag you down to his level and beat you at it through sheer experience!
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24th January 2005, 09:46 AM
#14
Administrator
Diamond Hubber
NOV: I've seen that sirkazhil song on tv. Sivakumar comes in 'maattu vandi', and this song is in background.
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24th January 2005, 02:12 PM
#15
Administrator
Platinum Hubber
From: Kanchana (@ ww-to02.proxy.aol.com) on: Tue Dec 23 16:49:04 EST 1997
Vennira Aadai
This movie saw the acting debut of Jayalalitha, Srikanth, Nirmala, Moorthy and Asha. Lyricist: Kannadhasan. Music: MSV-TKR
Storyline:
The main characters are psychiatrist Chandru (Srikanth), his girlfriend Geetha (Nirmala) and his patient Shobha (Jayalalitha).
15-year-old Shobha becomes a mental patient when she sees her husband die in a car accident two hours after their wedding. She is placed under Chandru's care 2 years after the incident, and returns to normal, thanks to his genius. She promptly falls in love with him. Chandru is aware of this, but does not say anything for fear of upsetting her delicate mental balance.
Shobha's parents want Chandru to get married to their daughter, but he declines since he does not wish to desert Geetha who is relying on him, Shobha discovers he is in love with Geetha, and helps Chandru & Geetha get married by overcoming Geetha's parents' objections.
On Chandru's wedding day, she wears a widow's conventional veNNira aadai, NOT because knows she she is a widow by convention BUT because the person in her heart cannot be hers anymore.
I was too young to watch this movie when it was released, but ever since I watched this movie for the first time a few years back I've always wondered how the movie audience of the late 60's(?) reacted to the strong dialogue and non-traditional symbolic behavior in the last scene.
Songs:
1. PBS/SJ (Srikanth-Nirmala)
chiththiramae solladi muththamittaal ennadi
niththam niththam thendral vandhu thottadhillaiyoa
thottu thottu nenjil inbam pattadhillaiyoa
2. LRE (Jayalalitha)
nee enbadhenna naan enbadhenna
oru ninaivu enbadhenna
nilai illaadha oru ulaga maedaiyil
naamum vandhadhenna
3. PBS/PS (Srikanth-Nirmala)
oruvan kaadhalan oruththi kaadhali
uravu vaa vaa vaa endradhoa
endradhoa endradhu
4. PS (Jayalalitha)
ammammaa kaatru vandhu aadai thottu paadum
poovaadai koNda maenidhannil aasai veLLam oadum
5. LRE/Raju (Moorthy-Asha)
alli pandhal kaalagaL eduththu aattam aadida vaa
angoru malligai kiLLi eduththu paattu paadida vaa
6. PS (Jayalalitha)
enna enna vaarththaigaLoa chinna vizhi paarvaiyilae
solli solli mudiththu vittaen sonna kadhai puriyavillai
7. PS (Jayalalitha) (full lyrics since it's my favorite
kaNNan ennum mannan paerai solla solla
kallum muLLum poovaai maarum mella mella
eNNam ennum aasai padagu sella sella
veLLam perugum peNmai uLLam thuLLa thuLLa
thendral indru paadum paadal enna enna
chinna kiLigaL sollum kadhaigaL enna enna
kaNNum nenjum ondrukkondru pinna pinna
ennai thunbam seyyum eNNam enna enna
akkam pakkam yaarum paarththaal vetkam vetkam
anbae unnai naeril kaNdaal naaNam naaNam
aasai nenjai solla poanaal achcham achcham
andrum indrum adhudhaan nenjil michcham michcham
Never argue with a fool or he will drag you down to his level and beat you at it through sheer experience!
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24th January 2005, 03:23 PM
#16
Administrator
Diamond Hubber
I haven't seen this movie too, but always wondered what character 'vennira aadai' moorthy played
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25th January 2005, 10:31 AM
#17
Administrator
Platinum Hubber
From: Kanchana (@ ww-to02.proxy.aol.com) on: 1997
Meenda Sorgam
Actors: Gemini Ganesan, Padmini, S.V.Sahasranamam
Lyricists: Kannadhasan, Subbu Aarumugam, P.S.Gopalakrishnan.
Music: T.Chalapathi Rao
Director: Sridhar
Storyline:
The main characters are Shekar (Gemini Ganesan), Nirmala (Padmini) and Kumarayya (S.V.Sahasranamam). Shekar takes an interest in the welfare of recently orphaned Nirmala, and introduces her to Bharata Natyam guru Kumarayya. She learns & excels in Bharata Natyam, but also falls in love with Shekar who thinks she should devote herself to the dance exclusively. He gets married to someone else, he is unhappy, the wife is unhappy and Nirmala is also unhappy. Finally, the wife commits suicide, and Shekar & Nirmala get together.
This is a movie which belongs to my parents' generation (50's) and I've heard them say great things about it. But when I watched it a few years back for the first time, I thought it was too slow and contrived. Also, Sridhar is not consistent: at one point Shekar says he is attracted to Nirmala but her talent should belong to the whole world and not just to him; at another point, Shekar says he is only in love with her talent and not her. ???!! And, somehow, the wife is painted in a bad light as an arrogant lady because she challenges her husband re his feelings for Nirmala. ??!! Anyhow, five out of the seven songs are great with good picturization.
aadum aruL jyothi
MLV/Seerkaazhi. Sung for S.V.Sahasranamam and the nattuvaangam lady, for a formal Bharata Natyam recital by Padmini. One of my favorite MLV movie songs.
thuyilaadha peNN ondru kaNdaen
AMR/PS. Sung for Gemini & Padmini, this is a dream by Nirmala.
kalaiyae en vaazhkayin dhisai maatrinaai
AMR/PS humming. Sung for Gemini. Shekar takes a casual walk around the gardens and Nirmala dances along with him.
kalaiyae en vaazhkayin (pathos)
PS. Sung for Padmini. Nirmala dances based on Kumarayya's request, to make a very ill Shekar feel better. Both Nirmala & Shekar recall the happier days when this song was sung.
mana naattiya maedayil aadinaen
PS/few lines by AMR. Sung for Padmini & Gemini. The extremely depressed Nirmala & Shekar ask themselves which direction their respective lives are headed.
Please see Page 1, first posting for complete index
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22nd February 2005, 08:58 AM
#18
Senior Member
Veteran Hubber
very nice reviews...but still it seems like a daunting task to me to write a good review up...
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23rd February 2005, 02:00 PM
#19
Moderator
Platinum Hubber
Andha Naal
Andha Naal (B/W 1954; Sivaji Ganesan, PandariBai)
Dir: 'Veena' Balachandar
Written by: Javar Seetharaman
Imagine a movie made in 1954 without any songs. Imagine it with a shocking start: a murder and followed by an investigatioon. Narrated without digression with a slickness unparalleled in Tamil movies even till date.
The story moves from the murder of engineer Rajan (Sivaji Ganesan) in his own house and the landing up of an investigation duo headed by Javer Seetharam. The audience now, (and always) knows only as much about the victim and the murder as
the investigators know. The duo pick up hints and leads and proceed on with investigation. The investigation reveals more and more about the dead man. Each possible suspect has known one dimension of the dead man. An arrogant scientist , a caddish opportunist to his mistress, a scheming backstabber to his neighbour, a selfish gold-digger to his sister-in-law, a cold but in a weird way loving man to his brother, an ambitious and earnest young man to his teacher and an unpatriotic individualist to his wife.
In the small flashbacks each lasting about ten minutes each Sivaji, in arguably THE greatest perfomance of his career, brings to life that dimension, that the narrator of the flashback intends to highlight. In fact the movie traces the character over time and we progressively understand rajan's motivations for previous actions
as the narrative progresses. There are also six enactments of the plausible ways in which the murder could have happened and Sivaji is a treat.The clear characterization is achieved with minimal dialogue and extraordinary acting, which the viewer realizes not so much while watching but when he reflects after the movie.
JS's taut screenplay is also kept alive by keeping the audience guessing as we are led to view with suspicion each of the suspects who all bore grudges against the dead man. JS also sprinkles some naughty humour without upsetting the balance.
I am not much for technical details but I recall this one scene in a park where Sivaji meets his mistress and he is washing his hands off her in an extremely caddish manner. She entreats him but he remains unswerved.At the end of the scene it is as if you can imagine Sivaji with a tight lip and raised eyebrows playing arrogant. Now, why do I say 'imagine' ? That is because one does not see either of the players in that scene.We only see their silhouttes and in Sivaji's case the smoke from his cigarettes. The scene is of incredible visual appeal.
Honestly I don't recall much about the background music which is a lifeline for such a movie. The movie is set in the backdrop of WW2 in those days where Adyar was still navigable but I am in no position to evaluate the historical accuracy of art-direction etc. At the risk of sounding naive I can say that the furniture, clothing and Madras outdoors were pretty stagnant in style for a long time, so I guess there is no jarring inaccuracy.
JS acting is a little affected at times, terying to look like GKChesterton's father Brown. The climax unravelling follows a wee bit of melodrama but that can of course be excused. In fact the very last shot itself makes amends for the temporary dip in style towards the climax. It's not a very long movie and there is nothing exclusively Tamil in its appeal. Strongly recommended for those who haven't seen it and those who have seen it too
Whew ! I managed that without spoilers 8)
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24th February 2005, 10:48 AM
#20
Senior Member
Platinum Hubber
AvaL appadiththaan
AvaL appadiththaan
Cast : Sripriya, kamalhassan rajinikant
Director : bala(nto sure...can someone help me out?)
A very bold story indeed. A woman who has her way, her
unique style of dealing with people around. A total contradiction
to a normal indian woman, who shees away at the thought
of talking so called taboo things.
A woman who do not believe, womanhood is in being
veiled and shut inside 4 walls, mumbling to oneself
the woes of the same. One who calls spade a spade.
Her sharp unabashed tongue earns quite a lot of enemies,
even more, a sluty name for her. She cares not. There comes
a man, who gives her hope, who thinks the way she does,
who respects the woman in her, only to slip out quietly
because he is equally bothered about the societies illpoisoned words.
Being a woman, who has believed men, she is too careful
and scrutinising, before she finally falls for any man.
Alas there she does, for this man, to quietly
away with scar in her mind.
Men! Their ways to deceive....and women, their ways to
fall for it time and again. After all thats how world
functions!
Finally the woman, congratulates a normal village bred
spouse of her lover, quietly confessing,
"I am a woman whom every man would want...
you are a woman whom every man would marry"
A MOVIE TO WATCH......... FOR PPL WHO LOVE CONTRADICTORY
CHARACTER.
Songs like
"uravugaL thodarkathai unarvugaL sirukathai...."
"panneer pushpangaLe..."
"AaN koNda thaagam
theerkindra mEham
peNNendra Or inamO...
ithu yaar saabam!"
words to remember!
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