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31st August 2012, 05:31 PM
#11
Senior Member
Diamond Hubber
For instance, in paLLikkUdam, there is this nice moment where the childhood friend is more than happy to take the unused clothes of his now-rich filmmaker friend but the latter isn't able to deal with the situation.[/quote]
i liked this movie... the friendship and the sensibilities were all brought out really well...
In solla maRandha kadhai too, towards the end, there's a moment where a drunk Kumarimuthu advises Cheran in all sincerity, gets all philosophical as someone who's lived a whole life, there's a momentary pause and Cheran takes some money out of his pocket and gives it to him. (Btw, I revisited just this moment the other day after I saw this discussion.) In such moments, he doesn't feel compelled at all to brush his characters in single strokes. But my problem with his films is the overall tone/framework of the film is mawkish melodrama. So, even when he ventures into unseen milieus etc., you can see that
he's basically thinking of old melodrama archetypes. For instance, in azhagi, he has a musical chair sequence which directly harks back to iru kOdugaL!
i remember watching the movie completely and i recall there were some well done scenes... but apart from the that, as a package, it did not work for me becos of the bolded lines u mentioned...
and azhagi, i am a fan of the first half.. would hav watched it like 20 times (repeated viewings by friends in my hostel pc), but second half strictly once.. it was made well but did not vibrate in sync with my inner sensibilities...
nanaum appasamy, thendral ellaam paatthaen... found them a bit above the regular movies... but adhukku mela edhum nyabagam illai...
w.r.to cheran,
autograph is my personal fav and a hardcore fan of TT i yam...
btw, did anyone discuss abt karu pazhaniyappans pirivom sandhippom?? i liked it too...
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31st August 2012 05:31 PM
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