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

[app_engine]

Going by the trend, it seems one can heavily like Mahaanathi or hate to the core. No 'in betweens'!

neenga threaddai ozhungAppadikkalai

iyAm one in-between sArE...

[Saai]

Pessimistic.. yep ! Antha word antha samayathula vara maatenduchu. Though he kills the villain at the end - ivvaLvum izhanthuthaan antha villaingaLa azhikkanum avasiyam illa appadinnu I remember telling my brother who is a die hard fan of Mahanadthi. Having said that, the movie is still one of my favourites. It took a couple of years for me to get over the Kolkata episode. Oru kaalathula TV'la "sri ranga naathar' song vanthaa, channel udanae maathi irukkaen, because the song directly takes me to Kolkata episodes and leaves me with a very heavy heart (eppadi iruntha kudumbam ippadi aayiduchae type sOgam )

Pessimistic-a?

His son grow up in a very affectionate environment. He is shown as a sharp, happy boy irrespective of the environment he grow up.

His daughter is rescued and gets married at last.

Kamal, a widower - finds a love-life when he is prison. Remember - He is a widower and a holy cow at his village.

Movie is heavy - but its definitely not a tragedy nor pessimistic. People just move on in the movie.

[sakaLAKALAKAlaa Vallavar]

superb reply saai! even panjabakesan is happy, in the final frame!

[app_engine]

Nice post, Saai!

rA-ki-ra wrote a last page series of 'eppadi kathai ezhudhuvadhu' in Kumudam, when he was in the editorial board.

As a typical structure, he mentioned the basic steps :

1. thodakkaththil oru sama nilai (not necessarily paradise, just a normal situation)
2. sikkal(s) coming up (this is when story becomes interesting, writer shows capability here)
3. strategy / counter strategy etc related to sikkal(s) (writer shows more capabilities here)
4. Either solution or nAsam (comedy or tragedy)

There were examples of how many of the world's great stories followed this structure.

One can see how he worked as the consultant to this movie

[Nerd]

Just listening carefully to the dialogues (overlapping dialogues Altman, Woody 'mbAingaLE)

The pimp calling for the madam as these guys are speaking some madarasi language She asks 'Tamil?' and he affirms. Just the pronunciation difference in that is
Meanwhile Poornam is saying: ennadhidhu..solliNdE irukkEn ippadi adichchiNdE irukkELE...pommanaattingaLA irundhuNdu

They are taking it out on Kamal precisely because they think he is the worst of the offenders. A man who is abducting Kaveri to make her his own. It is the rage they have felt against all-men. Panchapakesan can't even realize this. He is still standing in the platform of 'how women should behave'!! Where? In which location? The spot where the oppression of patriarchy is the strongest!

oru manushanaala eppadinga ivvaLavu deep-A ezhudha mudiyin?

Adding to MADDY's point on this particular quote of Panchapakesan - Idhu very normal dialogue, nothing great about this. I mean I can't think of any other line there.

And now in addition to Krishna,Kaveri,bharaNi, Narmada,Saraswati,Yamuna,Panchabi.. I just realized the madam's (Ganga!) daughter's name is Jalaja

Also this - idhula bow pannra aLavukku enna irukku? I for one hate this kind of gimmicks. This is comparable to what Mani did in Raavanan (Karthik jumping from one tree to another, because, well he is suppossed to symbolize Hanumaan).

[Plum]

[jaiganes mode]

jalajavodu Jalsa refer paNNi irupPArnu nenaichu Feeyar bow paNdrArO?

[/jaiganes mode]

[P_R]

Adding to MADDY's point on this particular quote of Panchapakesan - Idhu very normal dialogue, nothing great about this. I mean I can't think of any other line there.

That is exactly the idea, right? That is how he reacts and will speak. So it does not seem 'thrust in'. But he is oblivious to the context. To have him say the line "pommanAttingaLA irundhuNdu" is kinda blackhumorous. This is how the society treats this women and yet the expectation is that they should behave properly. And it is not just the stereotypical oppressive male who says that. Even a mildmannered conservative has the same opinion. All this expressed so fluently and without fuss.

I for one hate this kind of gimmicks. This is comparable to what Mani did in Raavanan (Karthik jumping from one tree to another, because, well he is suppossed to symbolize Hanumaan).

I love the gimmicks. Particularly the names. That is the artist kinda smiling that, at the end of the day, this is a universe he created. But doing so unobtrusively.

Ravanan is an example, how it ought not to be done.Thalabathy is sufficien comparison of how loose the coupling should be for it to be effective. Ravanan was reduced to "guess who is who, and what is what".

The names are what got me hooked into Mahanadhi -at a deeper level - first.

In Hey Ram he could have chosen any name for the lead character. But the choice Saket Ram (Saket is a name for Ayodhya) points us to the contemporary relevance of the whole story.

[sakaLAKALAKAlaa Vallavar]

Some interpretations are skin deep, easy for everyone to understand! Some are bit tough, and only ppl like P_R dives deep and find the gems! And finally some are comic mis-interpretations, like assuming that Hari-Haran is wantedly made to sing Kallai Mattum Kandaal

Its all up to us. pidicha varaikkum pogalaam. What flexibility yaar! This all river-names, athu puriyaathavanga, purinji pidikkaathavangalum, padathai entha idaiyuoorum illaamal rasikkalaam

[sakaLAKALAKAlaa Vallavar]

[sakaLAKALAKAlaa Vallavar]

http://www.karundhel.com/2011/09/6.html

'மகாநதி' திரைப்படம் வெளியானபோது, ஜூனியர் விகடனில், கமலைப் பேட்டி கண்டார் மதன். அது மூன்று வாரங்கள் வெளிவந்தது. மகாநதியைப் பற்றிய பல சுவாரஸ்யமான தகவல்கள் அதில் இருக்கும். அதில், ஒரு கேள்வியை எழுப்பியிருப்பார் மதன். அதாவது, கமலின் அக்காலத்தைய படங்கள் பெரும்பாலுமே ஒரே விதமான கருவையே கொண்டிருக்கும். ஒரு அப்பாவி மனிதன், தன்னைச்சுற்றிய ஒரு பெரும் சதியில் அல்லது குழப்பத்தில் மாட்டிக்கொண்டு, எப்படி மீள்கிறான் என்பதே அந்தக் கரு. இந்தக் கேள்விக்கு கமலின் பதிலும் சுவாரஸ்யமாக இருக்கும். அதேபோல், மகாநதிக்கு ஆரம்பத்தில் கமல் யோசித்து வைத்திருந்த கதையையும் அவர் சொல்லியிருப்பார். ஒரு பலே திருடன். ஆனால் திருட்டில் நேரடியாக சம்மந்தப்படாமல், திருட்டுக்கு ப்ளான் மட்டும் போட்டுக்கொடுத்து, திருட்டு நடக்கையில், அந்த வீட்டைச் சுற்றிப்பார்ப்பான். அந்த வீட்டின் நூலகத்தில் இருந்து புத்தகங்களைப் படித்துக்கொண்டிருப்பான். இந்த ரீதியில் செல்லும் அந்தக் கதை. ஆனால், நல்லவேளையாக இக்கதை கைவிடப்பட்டு தற்போதைய மகாநதி எடுக்கப்பட்டது.