Sindhanai Selvar Dr.Kamal HaasaR - favourite movies,scenes 2

[Bala (Karthik)]

, my all time favorite Tamil movie.

Lesson : From 00:44 onwards to 01:02 (Freeze at 01:00 to 01:02)

[Andha clown/viswaroobam transition scene youtube la kedaikkala and i've misplaced my collection of Thalaivar DVDs]

[equanimus]

Regarding mahAnadhi, it's debatable whether the ending is tonally inconsistent or not. I don't think it functions like a regular "happy ending." In fact, it's radically matter-of-fact in a sense. Remember, the film cuts to several years later. What makes us think they should still be wallowing in misery? In fact, that's precisely the mode in which standard tearjerkers work. If this were a regular melodrama, there would have been a more definitive full stop put to the lives of at least some of the characters. Krishna himself 'descends' into seeking retribution but is able to redeem his old self in some ways. Also, Kaveri carries on with her life, which is a radical departure in every sense.

And the idea that it's a "picture postcard" ending doesn't hold water at all. Firstly, does it really look like an afterthought? I'm not sure. The film ends where it began, with Krishna's children taking the plunge this time into what life has in store for them. It is not designed to make us 'forget' the past; on the contrary, it is designed to remind us of it. Even in a formal sense, the film doesn't play out that way. It doesn't employ handy techniques like closing with the image of a happy smiling family or something to that effect, but actually cuts to a bird's eye view of the river, pans across the bridge where they are standing and moves away from them along with the river and fades out with a panoramic view of the river bank. As I see it, it is more of a hopeful footnote to the epic arc of the film. The grandchild here is the Parikshit figure who is 'born' at the end of the epic and would carry forward the story. The film offers a closure that is squarely in the tradition of Indian mythology where nothing quite ends in and of itself.

[jaiganes]

Regarding mahAnadhi, it's debatable whether the ending is tonally inconsistent or not. I don't think it functions like a regular "happy ending" in any sense. In fact, it's radically matter-of-fact in a sense. Remember, the film cuts to several years later. What makes us think they should still be wallowing in misery? In fact, that's precisely the mode in which standard tearjerkers work. If this were a regular melodrama, there would have been a more definitive full stop put to the lives of at least some of the characters. Krishna himself descends into a sort of madness and violence but is able to seek redemption in some ways. Also, Kaveri carries on with her life, which is a radical departure in every sense.

And the idea that it's a "picture postcard" ending doesn't hold water at all. Firstly, does it really look like an afterthought? I'm not sure. The film ends where it began, with Krishna's children taking the plunge this time into what life has in store for them. It is not designed to make us 'forget' the past; on the contrary, it is designed to remind us of it. Even in a formal sense, it doesn't play out that way. The film doesn't employ handy techniques like closing with the image of a happy smiling family or something to that effect, but actually cuts to a bird's eye view of the river, pans across the bridge where they are standing and moves away from them and flows along with the river and fades out with a panoramic view of the river bank. As I see it, it is more of a hopeful footnote to the epic arc of the film. The grandchild here is the Parikshit figure who is 'born' at the end of the epic and would carry forward the story. The film offers a closure that is squarely in the tradition of Indian mythology where nothing quite ends in and of itself.

and a beautiful footnote punctuated by the song that completes the arc. The "few years later" also indicates the second passage of time - the inconquerable river - in this instance offering solace and mellowing. Return of the prodigal son of the soil - to be seen in contrast with the Devar magan climax where the prodigal son makes a departure to prison. I couldnt help avoiding making that connection - though i am typically against considering an entire body of work before making a comparison, however such is the uniformity of thematic expression of Kamal's extremely satisfying 90s output.
It is interesting how Kamal the artist has handled the mahanadi of time personally, quite good in swimming against the tide in 90s, now comes across to me an artist struggling to break the shackles he has placed upon himself.

Now wondering.. is it time for Thevar Magan part 2?

[equanimus]

and a beautiful footnote punctuated by the song that completes the arc.

Absolutely. I wanted to touch upon this in a subsequent post. The recurrence of the "தையந் தையந்" chant and the theme song, which runs through the film as Krishna goes through the motions of life, as if it were the 'song of (his) life' itself, as the film draws to a close is crucial in the sense that it invokes all of his past life. None of it is simply a bad dream that's over.

[jaiganes]

and a beautiful footnote punctuated by the song that completes the arc.

Absolutely. I wanted to touch upon this in a subsequent post. The recurrence of the "தையந் தையந்" chant and the theme song, which runs through the film as Krishna goes through the motions of life, as if it were the 'song of (his) life' itself, as the film draws to a close is crucial in the sense that it invokes all of his past life. None of it is simply a bad dream that's over.

The variations of the song are amazing in the fact that same tune, effectively brings out all possible emotions.
In the song .. "Engeyo thekku thesai"
http://www.thiraipaadal.com/album.ph...R00331&lang=en
Kamal and IR sum up the story with a wonder "EngeyO vandhadhenna en vaazhkai Odam dhaan" underlining the currents that sweep a man and his family off their feet. absolutely beautiful brevity of lyrical imagination.
One more SPB beauty of a song with a killer prelude "Anbaana" aptly describes the departure of the family(from their village) fraught with future uncertainties. Sometimes while seeing the movie, I wonder how Ilaiyaraaja comes up with these wonderful bit songs that punctuate the movie and make it absolutely accessible to everyone. Annaaradhu bit songs compilation must be made immediately.

[kid-glove]

I agree that it isn't regular tearjerker or melodrama in any sense. Such films end on a poignant note but what I was asking for is to keep the despair tone right up to the end with slightest tinge of hope - rather than giving an optimistic, even if matter-of-fact conclusion. The 'Cycle of life' as it were, brought about by ending the film like its beginning. While one shouldn't round it off as a "happy conclusion", but definitely inasmuch the 'lessons' are learnt (and will always be reminded with caution, physically by Krishna's 'severed' hand and far more scathingly mentally - but the ending isn't interested in that, but rather shows how the characters try to dig back their early selves, going back to where they belong.), and now this serene & safer countryside will be their 'home'. What's more optimistic and picturesque than regaining the old, respectable Identity.

And yes, the ending follows the tradition of Indian Epics. The conflict evokes both the Epics. If swindling is of one, the abduction of his daughter is of another. The daughter is reincarnation of 'Sita figure' to Krishna - in the Saree store, Kaveri's image dissolves to wife's image to Krishna for a brief moment. Forget the visual cues, there's an epic sweep with which the characters are unraveled by time (often times, this is underrated. But this film keeps moving along, and never stands still. And this movement is respected uncompromisingly by its effect on the characters) and place ( Urban misadventures up to the point of Jail, and in Kaveri's case, across rivers of Vindhyas - all counterpointed to their 'home').

[kid-glove]

I like this scene in Indian when the cop Krishnaswamy (Nedumudu Venu) meets Indian thatha



One of the well-directed(in general I think he's undervalued in this regard, conflating writing with direction, and also because of the fetish to paint and ornate objects & places) moments of Shankar.

And Kamal's limitless capability for panache is brought out in that very scene. As an Old Man no less !

[ajithfederer]

Disclaimer : Don't know whether it has been posted here before

Looks like an old interview from (may be 2004). Kamal talks about MN, Viruman and his experience at Rotterdam film festival. I for one always thought that he didn't go there when they screened 3 films of his under "Filmmaker in Focus". Or was that in 2002?. Anyway below is the intree.




`Virumaandi` isn't enough to change Tamil cinema: Kamal
By Subhash K Jha

Why did Kamal Hassan leave the country as soon as his new film `Virumaandi` became a blockbuster? Subhash K Jha finds out.

Where have you been?
I enjoyed making Virumaandi. After that it was time for me to move on. Essentially my trip abroad this time was a period of stock-taking. I had lots of time to be with myself, take walks, think. Decide about my future. This time I wasn’t the limelight moth. The idea was to be as inactive as possible. The only time I allowed the pleasure of business to resurface was when I went to the Rotterdam film festival. Then I went to the US with the film where my production house Raj Kamal Films turned distributor with Virumaandi.

How did it do in the US?
It performed much better than we expected. In the US we got three times more recognition and financial attention than we expected. There’s a large percentage of Tamils among the NRIs. In the US the Tamilians are all Indian whereas in Canada they’re from India and Sri Lanka. They all reacted favourably. But I wasn’t looking at their reaction. I was completely cut off from the excitement for Virumaandi, like a guy who takes hot steam inhalations during a cold. I stayed away from all the excitement. No limelight stuff for me except one beautiful happening.

What’s that?
I met filmmaker Milos Forman in Paris. I’m his fan, though he didn’t know who I was. My friend Jean-Claude Carriere introduced us. Milos was surprised I remembered the title of all his films. Now of course he’s caught in my web (laughs).

Shouldn’t you have stayed back in India to see how Virumaandi goes?
I had a feeling it would click in a big way. Throughout the making of the film I kept making corrections. Earlier I couldn’t rectify the errors in my filmmaking due to the fear of cost and the fear of delay. Here the delay happened because of extraneous factors (political interference in the film’s title). So no one could blame me for it.

Virumaandi has become a blockbuster.
That’s what they’re saying. But I never look a gift-horse in the mouth. If people are saying Virumaandi has revived the Tamil film industry then I won’t be presumptuous enough to agree. No industry can be altered by one film. When people say a film will change the trend of filmmaking, it never happens in isolation. Likeminded people need to bring about that change.

Does the success of Virumaandi provide you with the impetus to revive your dream project Marudanayagam?
One Virumaandi isn’t enough to revive a project that large. We need 10 million dollars for Marudanayagam. It has to come from abroad. What surprised me was the response to Virumaandi at the Rotterdam film festival where out of 180 entries my film with parochial overtones which I had made about a specific clan in Tamil Nadu, got widely noticed.

Do you think our cinema is finally being noticed abroad?
We need to carry our cinema forward, free it from the shackles of the bigotry abroad. I’m tired of being asked if we’ve elephants and snakecharmers in India. We’ve to make Hollywood-standard films. I’m bored with what we’re doing. I’ve my own sensibilities as a filmmaker. I want to apply these to international standards. See, everyone here wants to stand on a mount and give biblical sermons. But do any of us have beard enough to take the crucifixion?

So you think Bollywood must behave like Hollywood in order to acquire an international feel?
No ultimately the Hollywood coating has to be pull off our cinema. Hollywood is a multi-cultural talent. The best of Hollywood is composed of all nationalities. Francis Coppola never took his American cinema to Italy. Likewise we need to wear our cultural badge and still look cosmopolitan. I was reading the Urdu author Sadat Hassan Manto from the 1947. He’s truly international in feeling. I’d love to be one of his disciples. I identify with his writing.

Are you enjoying the success of Virumaandi?
For me the enjoyment would come from making my next film. The success of the film has made a point. Audiences memories get blunt when there’s too much room between two successes. Over here your last film is your visiting card. I must say there was a lot of support for Virumaandi before release. After a long time I felt I was provided fraternal support. There was a lot of debate, all productive. My friend music composer Ilaiyaraja said he was moved by the film but worried about it. He was worried the audiences wouldn’t be able to identify with the rural background. He was also worried about the narrative which is like Kurosawa’s Roshomon. There‘re two versions of the truth in Virumaandi.

What next?
I’m talking with Mr Sangeethan Srinivasa Rao. We did Appu Raja, Pushpak and Michael Madan Kamarajan. We’re good friends and collaborators. I like him even more now because he loved Virumaandi (laughs). Our discussions right now are in what Sangeetham calls a nebulous stage.

When will you do a film with Mani Ratnam?
When he’s ready with a story, or when I can give him a story. I hope it happens soon. We’ve been talking about a film. Much as people would like to believe otherwise, there’s no problem between us. We’re both too grown up for hide‘n’ seek. I think the problem is, we need to go beyond Nayakan. I can’t have Mani Ratnam being unsure on my sets. He’s our pillar of strength. He has to be sure about what we do together.

Are you looking at a scenario where you’ll have to produce all your films?
(sighs) It looks like it. It’s more convenient. But I’ll have to leave the marketing to others. I’m not a pundit about what clicks. But I’m a men in the trenches who knows which way the bullets are flying.

http://sify.com/movies/tamil/intervi...15258&cid=2408

[Vivasaayi]

, my all time favorite Tamil movie.

Lesson : From 00:44 onwards to 01:02 (Freeze at 01:00 to 01:02)

[Andha clown/viswaroobam transition scene youtube la kedaikkala and i've misplaced my collection of Thalaivar DVDs]

appu laughs like his dad..isnt it?

The portion from 2:14 to 3:14 - rocking...!

[Vivasaayi]

awesome sequence (kamal pestering somayajulu for a job) from swathi muthyam...andha innocence in face

evanum pakkathula kooda vara mudiyadhu!