"Ragalai panni irukkaanga", if I say it in Tamil. "Wow", if I say it in English. (Thats all man. I know just 2 languages!) ;-)
Jeeva, the director of the movie, is becoming the "Man of Scripts". (Of course, still I say Maniratnam is the master of that). The way Jeeva blends the characters and scenes takes the movie somewhere in the highest peak. In the starting itself, u can see his brilliance and the one line of the story. A man with the letter M in his T.Shirt, speaks for men. "God created men first". And, a woman with the letter W in her T.Shirt speaks for women. "For every product thr is a rough draft and thats why God created men first".
I dont think yesteryear movies(, or I dont see those movies) which deal with 2 different type of characters... Both are very extremists. One is very sensitive and the other is very casual. And, Jeeva takes care of analysing Men's way of thinking and Women's way of thinking. And, its not preaching but entertaining. The movie starts with the fight b/w the hero and his lover, where the director shows the sequence in the 3rd person's eye. And, story travels back why the fight happen then comes to the present situation where the script flows around just the 2, (Here Vinay was telling the story 4m his point of view). Perfect in every inch. And, the 2nd half also... How the love develops b/w other two. Nowhere in the movie u will feel Tanisha is playing negative role, since he decided to love Vinay, thou Sadha too loving him. When Tanisha started loving him, u wud also have come to the decision that "why dont this fellow love Tanisha". And, tats the power of Jeeva's script.
The director adds himself in the line of Maniratnam, Gowtham, etc, while taking love scenes. They are very lively and lovable, especially Sadha-Vinay love scenes. When he mets her the 2nd or 3rd time, it started raining, she unfolded her umbrella, he came under the same umbrella and was saying "Mazhaiye nammalai onnu serthu vaikkuthu". Suddenly, she folded the umbrella, and he said "Naan nanaiyirennu neengalum nanaiyureenga paatheengalaa!". So, she unfolded the umbrella again and he sed like "Eppadiyo naama onnu sernthuttom!" . ;-)
For a movie, to which the MD is Harris Jeyaraj, then he should be underplayed. And, he has done it. His re-recording is gud in many places. But, I could feel the music is played in some places. Yeah... he should learn a lot 4m Ilaiyaraaja, when it comes to BGM.
Cinematografy... All I can say is 'Just amazing'. The director fully exploited his talent when capturing the beautiful Australia. The feel is very rich, especially in the song "Mudhal Naal indru". The best thing is indoor shooting. As my friend, Srini, pointed out, it wud be easier to capture flowers, sunset, etc beautifully, as they are inherently beautiful. The real challenge lies in capturing the moments with the man made things. Jeeva passed the challenge with distinction.
The very powerful part of the movie was handled by S.Ramakrishnan, the dialogue writer. Some samples...
"Vittu kodukkirathu illai love, purinchu yethukkirathu thaan". "Puriyaama sernthu vaazhrathai vida, purinchu kittu vilagi vaazhrathu kooda kaadhal thaan". "Love'ai sonnavangalai vida sollaama ullukkullaye vachu kittu irukkiravanga thaan niraiya peru".
In the debate what women expect 4m men and men 4m women, its not the question whether men or women win, but S.Ramakrishnan won. But, Tanisha says she likes the 'lies', men tell. I dont think so, else, I would have got 2nd gal friend by this time. (The first one is my mummy) ;-)
Vinay is the new face and also Tanisha. But, surely u wont beleive, except when it comes to lip movement. The only thing is songs. Songs are gud... accepted. They are pleasing to hear.... accepted. But, for that, the director shouldnt put them in whereever he wanna take rest 4m the tight script. ;-)
Men may have relationships(I mean just a personal relationship ;-)) with so many gals, but he will give importance to just one gal and will like to live with her, thats the movie says. As far as myself is concerned, its true. But, even after seeing the movie itself, I couldnt understand the character of women. And, I think, thats why the director has only one representative for all men but two for all women, both are extremly different in character. If anyone understands, feel free to mail me back. ;-)
BTW, as a whole, its really a gud attempt by the director. A different attempt, altogether!!
Monday, April 16, 2007
Wednesday, March 07, 2007
Mozhi -- Universally appealing language
Better late than never… It has been very long time since I saw this movie. And, the movie deserves a review. I never thought that I would write a review for a movie by Radhamohan, thou’ his earlier movies were gud.
“Wow… Wat a movie man!!”… After a very long time, I felt this once the movie ended. Many wonderful movies came in the recent period, but this movie is sth spl. ‘coz we can verywell relate everything with our personal life. Simply saying.. “A feel gud movie”.
Thou the story is not very new to tamil film-dom, the script is. Its really a gud example(initiative?) to show a physically challenged person in a positive attitude. Nowhere in the film we pity Jo. The director used to tease tamil cinema’s monotonous nature in his earlier movies… That continues in this movie too, but in a subtle manner, as usual. ;-)
The director handled some nuance scenes very beautifully. While Prithviraj tried to feel how it wud be deaf, he pasted a bunch of cotton in his ears… Where u can notice a book “MAD” in the table.
In the song “Kartin mozhi”, the director shows how Jo tried to feel the music… while her grandma pat on her shoulder, while she cut the vegitables, etc. If u notice, since Jo cudnt hear, she felt in the way the object moves. Ie: while she cut the vegetable, she nods her head up and down, and when the (pooja) bell rings, she nods her heads sideways. ;-)
In the same song, after Swarnamalya finished her dance, everybody started clapping. Only prakashraj started clapping the way we used to. The other two, Jo and Prithvi clapped in the sign language. (Prithviraj then only started his learnings on sign language)
In the climax, after Prithviraj scolded Jo, the music Vidhyasagar used as BGM was the one which she felt the first time what music was.
Jo’s acting was awesome. Just notice her body language when she says she cant speak and hear. And, the place whr she felt the music in her eyes. I came to know the meaning of “Kangalum kavi paaduthey” thr only. If she is firm on her decision, Tamil industry will surely lose a gud actress. Not to mention, Brammanandham and Baskar’s role aptly presented in the movie.
Some of the dialogues penned by Viji were unforgettable… After Brammaanandam saw Prakashraj in “shame shame” manner, he shouted with Prithviraj, “Naan avan mogathai kooda paakka viruppa padaathavan”. The audience came to know the inner meaning only after few seconds. ;-)
Some powerful dialogues too… “Vaazhkkai’la silathai thappu’nnu unarum pothu, athai thiruthikkida santharppamey kidaikkaama poidalaam”. “I am not sacrifycing myself, but sharing my life.”
One another main thing is Music. I wudnt believe my ears… He used to score gud music for songs for some movies. But, in very rare situations only, he succeeds in scoring gud BGM too. And, the rare situation occurred for this movie. ;-) That one we can feel in the scenes like.. when Prithviraj told Prakashraj “Naama kooda padathula sila idangalla, BGM venaam’nnu amaithiyaa vidurathu illaiyaa?”
The camera and editing helped the movie to go in the admirable pace. Anyway, I cudnt get why K.V.Gugan angled the camera by 30 degrees, in some places.
The only thing “Pesamadanthaiye” song was unnecessary for the movie.
Prakashraj is simply the best… We shud appreciate him for his enthu in producing gud movies (Poi was an exceptional, thou’).
I saw the movie almost two weeks ago. But, still I cud recollect almost everything. Then, u cud understand how far the movie impressed me. ;-) After the movie ended everybody started clapping and the movie surely deserves.
“Wow… Wat a movie man!!”… After a very long time, I felt this once the movie ended. Many wonderful movies came in the recent period, but this movie is sth spl. ‘coz we can verywell relate everything with our personal life. Simply saying.. “A feel gud movie”.
Thou the story is not very new to tamil film-dom, the script is. Its really a gud example(initiative?) to show a physically challenged person in a positive attitude. Nowhere in the film we pity Jo. The director used to tease tamil cinema’s monotonous nature in his earlier movies… That continues in this movie too, but in a subtle manner, as usual. ;-)
The director handled some nuance scenes very beautifully. While Prithviraj tried to feel how it wud be deaf, he pasted a bunch of cotton in his ears… Where u can notice a book “MAD” in the table.
In the song “Kartin mozhi”, the director shows how Jo tried to feel the music… while her grandma pat on her shoulder, while she cut the vegitables, etc. If u notice, since Jo cudnt hear, she felt in the way the object moves. Ie: while she cut the vegetable, she nods her head up and down, and when the (pooja) bell rings, she nods her heads sideways. ;-)
In the same song, after Swarnamalya finished her dance, everybody started clapping. Only prakashraj started clapping the way we used to. The other two, Jo and Prithvi clapped in the sign language. (Prithviraj then only started his learnings on sign language)
In the climax, after Prithviraj scolded Jo, the music Vidhyasagar used as BGM was the one which she felt the first time what music was.
Jo’s acting was awesome. Just notice her body language when she says she cant speak and hear. And, the place whr she felt the music in her eyes. I came to know the meaning of “Kangalum kavi paaduthey” thr only. If she is firm on her decision, Tamil industry will surely lose a gud actress. Not to mention, Brammanandham and Baskar’s role aptly presented in the movie.
Some of the dialogues penned by Viji were unforgettable… After Brammaanandam saw Prakashraj in “shame shame” manner, he shouted with Prithviraj, “Naan avan mogathai kooda paakka viruppa padaathavan”. The audience came to know the inner meaning only after few seconds. ;-)
Some powerful dialogues too… “Vaazhkkai’la silathai thappu’nnu unarum pothu, athai thiruthikkida santharppamey kidaikkaama poidalaam”. “I am not sacrifycing myself, but sharing my life.”
One another main thing is Music. I wudnt believe my ears… He used to score gud music for songs for some movies. But, in very rare situations only, he succeeds in scoring gud BGM too. And, the rare situation occurred for this movie. ;-) That one we can feel in the scenes like.. when Prithviraj told Prakashraj “Naama kooda padathula sila idangalla, BGM venaam’nnu amaithiyaa vidurathu illaiyaa?”
The camera and editing helped the movie to go in the admirable pace. Anyway, I cudnt get why K.V.Gugan angled the camera by 30 degrees, in some places.
The only thing “Pesamadanthaiye” song was unnecessary for the movie.
Prakashraj is simply the best… We shud appreciate him for his enthu in producing gud movies (Poi was an exceptional, thou’).
I saw the movie almost two weeks ago. But, still I cud recollect almost everything. Then, u cud understand how far the movie impressed me. ;-) After the movie ended everybody started clapping and the movie surely deserves.
Tuesday, February 27, 2007
Paruthiveeran -- To all whoever wants to feel the nativity...
When Ameer finished his “Mounam Pesiyathey”, he invited two personalities specially for the premiere of the movie. One was Kamalhasan and the other was Maniratnam. I decided to see that movie after reading this. And, Ameer continues the same spirit even today. His latest Paruthiveeran can be claimed as his best till date.
Thr are very few directors who never compromises or compromises a little, like MR, KH, BM, etc. Now, its Ameer’s term. Now-a-days in the m/c world and multiplex fever, one would really dare to take a village subject. Ameer did it well. And, the success is he even made it to be watchable by multiplex audience too. He even touches castism in some scenes(Actually, the theme of the movie is also tat only). The liveliness of the village can be smelled all over the movie. The Madurai Tamil… If my memory is correct, after Virumaandi, this is the movie where colloquial tamil is used for the full length.
Actually speaking, the “Melam”, “Naadhaswaram”, “Karagaattam”, etc remind me of my native’s(Kulasekhara patnam) Dasarah festival. Wonderfully captured!! The way the songs taken was another beauty. Ilaiyaraaja’s haunting voice adds another feather to the song “Ariyaatha vayasu”.(Mind it… IR was paid Rs. 2Lacs to sing tat song, highest ever paid for a singer) That is how a puppy love shud be… very decently captured. The other side “Matured love” also captured in a very beautiul manner, “Iyayo” song.
The script was very straight forward… Then and there thr was flashback scenes, which gave the firm base for Karthik and Priyamani’s love and Priyamani’s father’s non-acceptance for the love. The director carved the character of Karthik with atmost care… One can find it when the small kid was answering to Priyamani father’s question. Since I was born an brought up in village, I can feel it. Thr are such kids always. :-)
Karthik… I really doubt whether he learnt direction or Acting, while he was assisting Maniratnam. ;-) Its awesome man!! What Surya did after Bala shaped him, he did it in the first film itself. And, tat too the “looties” of himself and his uncle(Chittappa). If I say it in Tamil, “Kaalaikkirathukku oru alavey illaama kalaaichirukkaanga”. U cant stop laughing of wat they did after the constable looting the money 4m them. When the police took fotos of the prisoners, Karthik sed “Give pose, they are taking fotos”. J When they lay on the sunlight and explaining to Priyamani why they were lying, etc scenes. And, Priyamani too justified her role. She fits like T as a normal village gal… And, her voice… If she only did the dubbing, that also did the justification. A very apt village gal voice.
Yuvan Shankar Raja and Ramji took the film to a new height, indeed. When I wrote review for Pudhupettai, I praised his music like anything… But, in one another review someone scolded him for not giving music with nativity feel. Yuvan answered him by this movie. You can feel the nativity in every frame. Ramji’s camera work… as expected he used Red tone. But, very different camera angles… That too when he showed the scenes that happened in Redsand. Does the director really wanted to say something? (Only ‘coz of the blood drops, the sand becomes red??)
The only thing I cant digest is its Climax. It doesn’t mean that, the climax is unjustifyable. Even, its a very creative climax also. But… why cant he take it the other way?? After Kutti, this is the 2nd movie which I wanted to see the 2nd time, but cant see, atleast for the climax.
Thr are very few directors who never compromises or compromises a little, like MR, KH, BM, etc. Now, its Ameer’s term. Now-a-days in the m/c world and multiplex fever, one would really dare to take a village subject. Ameer did it well. And, the success is he even made it to be watchable by multiplex audience too. He even touches castism in some scenes(Actually, the theme of the movie is also tat only). The liveliness of the village can be smelled all over the movie. The Madurai Tamil… If my memory is correct, after Virumaandi, this is the movie where colloquial tamil is used for the full length.
Actually speaking, the “Melam”, “Naadhaswaram”, “Karagaattam”, etc remind me of my native’s(Kulasekhara patnam) Dasarah festival. Wonderfully captured!! The way the songs taken was another beauty. Ilaiyaraaja’s haunting voice adds another feather to the song “Ariyaatha vayasu”.(Mind it… IR was paid Rs. 2Lacs to sing tat song, highest ever paid for a singer) That is how a puppy love shud be… very decently captured. The other side “Matured love” also captured in a very beautiul manner, “Iyayo” song.
The script was very straight forward… Then and there thr was flashback scenes, which gave the firm base for Karthik and Priyamani’s love and Priyamani’s father’s non-acceptance for the love. The director carved the character of Karthik with atmost care… One can find it when the small kid was answering to Priyamani father’s question. Since I was born an brought up in village, I can feel it. Thr are such kids always. :-)
Karthik… I really doubt whether he learnt direction or Acting, while he was assisting Maniratnam. ;-) Its awesome man!! What Surya did after Bala shaped him, he did it in the first film itself. And, tat too the “looties” of himself and his uncle(Chittappa). If I say it in Tamil, “Kaalaikkirathukku oru alavey illaama kalaaichirukkaanga”. U cant stop laughing of wat they did after the constable looting the money 4m them. When the police took fotos of the prisoners, Karthik sed “Give pose, they are taking fotos”. J When they lay on the sunlight and explaining to Priyamani why they were lying, etc scenes. And, Priyamani too justified her role. She fits like T as a normal village gal… And, her voice… If she only did the dubbing, that also did the justification. A very apt village gal voice.
Yuvan Shankar Raja and Ramji took the film to a new height, indeed. When I wrote review for Pudhupettai, I praised his music like anything… But, in one another review someone scolded him for not giving music with nativity feel. Yuvan answered him by this movie. You can feel the nativity in every frame. Ramji’s camera work… as expected he used Red tone. But, very different camera angles… That too when he showed the scenes that happened in Redsand. Does the director really wanted to say something? (Only ‘coz of the blood drops, the sand becomes red??)
The only thing I cant digest is its Climax. It doesn’t mean that, the climax is unjustifyable. Even, its a very creative climax also. But… why cant he take it the other way?? After Kutti, this is the 2nd movie which I wanted to see the 2nd time, but cant see, atleast for the climax.
Thursday, January 25, 2007
Review of Maniratnam's Guru -- Not only the movie, he himself
Disclaimer: I havent read any reviews till now. Any resemblence to them is purily coincidental. ;-)
Whenever I write a review, I decide to see the movie atleast one more time. Here also its the same case with Guru... But, with slightly different manner. I have to watch a Maniratnam movie atleast twice or thrice before writing a review. And, the remaining times to see the movie are still unknown.
"Dream... as far as you can"... The movie begins with this dialogue which explains the theme of the movie. And it comes to the scene how sharp Gurukandh Desai(Gurunath Desigan) is. When Guru decided to start a business and how he managed to get into the trade may remind us Nayagan. But, the resemblance ends there itself. MR gave a heavy role to Midhun and so he justified it in a well manner. The body language of AB is awesome man. Especially, when he looked Vidhya balan, when both Midhun and Maddy scolded him. Thr Vidhya Balan also acted well. One more thing... When AB was trying hard to act well,, Maddy finished his part perfectly with just a smile or a simple bare look.
Really its a different thing to portray the hero and his opposite party as best friends. Apart from official contend, they strive to maintain a good relationship. Again its typical MR when showing the physically challenged gal's unfulfilled ambitions.("I want to sing and dance without any pain for 3 days") The last 30 - 40 min, it was a gud narration between Guru's scenes and Meenu(Vidhyabalan)'s scenes alternatively.
There are many nuance scenes as usual in all other MR movies. In one scene MR shows all other traders were circularly running around Guru, which depicts he became the hero among them.
Thr are some untold scenes too... The item number is unnecessary, when its seen for the first time. But, just notice the song. Mallika was dancing in a pub. Guru and his friends went thr. Then, after some time, Guru earned money and she came with them in a street car. Again Guru earned lot of money and this time they went in a speed boat. ie: It also explains the growth of Guru.
When he became the father of twins, he told someone to inform his parents that he was coming to his hometown . Then immediately the song "Jodi Jodi"(Ek lo Ek Muft) comes. ie: The song was sung in the hometown. In the last scene of the song only MR shows their parents just for 2 sec.
When Maddy and Vidhya Balan were talking in the press suddenly thr was a power failure, only in their press. Already the newspaper was writing negative against Guru. Here comes the music. ARR will start his "Gurubaai" music thr. He used to play this music whereever Guru becomes the winner. And so, here its obvious who was behind the powercut.
When Guru went to a minister's home to get a (illegal) sign, he told the following dialogue... "Ur uncle gave me a thing which is a heavy one. If I put it down anyone will take." Thats all. He got his signature. He didnt offer money. But, simply he blackmailed the minister with some unknown reason, which might have involved some tape or sth which could cover a bribe or sth.
When the enquiry started, AB asked the chief to speak in the regional language. At first, this seems to be unnecessary. But, Once the enquiry was over, when he justified his doings, he told "I dont even know the meanings of Exile, Customs, etc". The first request helped him to hold a strong stand.
The dialogues are the crucial part in the movie. Few eg:
"When my boss accepts that I am working fine, why shud I work for him? I shall work for me."
When AB told its almost dark in the night, ash replied like "U can see many places in the world with dawn or daylight. Why do u always think of ur place only?"
"If u wanna win Guru, u hav to be Guru. But thr is only one Guru".
"What Mahatma did was also against the then law"
Hats off to AzhagamPerumaal (or Maniratnam!) I think, mostly the dialogues were same in hindi and tamil. I told this with my 'thoda thoda' hindi knowledge only. Unlike Uyire the lip movement was somewhat gud in Guru(Tamil)
For the song Ek Lo Ek Muft, SPB did the justification more than Bappi Lahari, it seems. Anyway, its ARR who too helped the movie to bring one step forward. He (was) underplayed and keeps mum in many places. Anyway, though the tune is gud, the Gurubaai beat reminds me of "Viru Viru maandi Virumaandi" tune by Ilaiyaraaja 4m the movie Virumaandi.
The camera was awsome. Some of the spectacular angles... The steps scene when Guru came to Ash house to see her father. The running train in between Ash and Guru, when Guru didnt have words to speak. The handheld camera while Midhun's car was broken.... etc. The song "Tere bina" was taken in a very gud manner, which is simply enuf to bring the fighting couple together.
The art director Samir Chanda... I didnt see any different art work(positive comment only) except in the Ek Lo song. The swaying model. Apart 4m this, I can understand the difficulties in bringing the old town lively. Samir did the job without any mistake. And, the timeframe is shown using the cars also. First it was old Benz, then some premier padmini like cars... then, condessa. And, the number of cars too. First it was very minimal. Then in the middle MR slightly shows the city traffic. hey... If I forgot to tell abt the tram, God wont forgive me. ;-)
The editor Sreekar Prasad also has done his job well. If the editing doesnt look odd, then only the movie is gud. Never it has overcome the script.
Still I dont get any idea abt importing the empty boxes. I think, MR didnt explain it well. In the end the movie again it reminded me of Nayagan. First I thought the climax was not handled properly. But, later knew tat it was only enquiry commission and not the court. When most of the commisions were eyewash, why not this climax? Anyhow, still I am not fully satisfied. BTW, the ending is another spectacular part of the movie. To enjoy the ending u hav to watch the movie right from the beginning itself. ;-)
Whenever I write a review, I decide to see the movie atleast one more time. Here also its the same case with Guru... But, with slightly different manner. I have to watch a Maniratnam movie atleast twice or thrice before writing a review. And, the remaining times to see the movie are still unknown.
"Dream... as far as you can"... The movie begins with this dialogue which explains the theme of the movie. And it comes to the scene how sharp Gurukandh Desai(Gurunath Desigan) is. When Guru decided to start a business and how he managed to get into the trade may remind us Nayagan. But, the resemblance ends there itself. MR gave a heavy role to Midhun and so he justified it in a well manner. The body language of AB is awesome man. Especially, when he looked Vidhya balan, when both Midhun and Maddy scolded him. Thr Vidhya Balan also acted well. One more thing... When AB was trying hard to act well,, Maddy finished his part perfectly with just a smile or a simple bare look.
Really its a different thing to portray the hero and his opposite party as best friends. Apart from official contend, they strive to maintain a good relationship. Again its typical MR when showing the physically challenged gal's unfulfilled ambitions.("I want to sing and dance without any pain for 3 days") The last 30 - 40 min, it was a gud narration between Guru's scenes and Meenu(Vidhyabalan)'s scenes alternatively.
There are many nuance scenes as usual in all other MR movies. In one scene MR shows all other traders were circularly running around Guru, which depicts he became the hero among them.
Thr are some untold scenes too... The item number is unnecessary, when its seen for the first time. But, just notice the song. Mallika was dancing in a pub. Guru and his friends went thr. Then, after some time, Guru earned money and she came with them in a street car. Again Guru earned lot of money and this time they went in a speed boat. ie: It also explains the growth of Guru.
When he became the father of twins, he told someone to inform his parents that he was coming to his hometown . Then immediately the song "Jodi Jodi"(Ek lo Ek Muft) comes. ie: The song was sung in the hometown. In the last scene of the song only MR shows their parents just for 2 sec.
When Maddy and Vidhya Balan were talking in the press suddenly thr was a power failure, only in their press. Already the newspaper was writing negative against Guru. Here comes the music. ARR will start his "Gurubaai" music thr. He used to play this music whereever Guru becomes the winner. And so, here its obvious who was behind the powercut.
When Guru went to a minister's home to get a (illegal) sign, he told the following dialogue... "Ur uncle gave me a thing which is a heavy one. If I put it down anyone will take." Thats all. He got his signature. He didnt offer money. But, simply he blackmailed the minister with some unknown reason, which might have involved some tape or sth which could cover a bribe or sth.
When the enquiry started, AB asked the chief to speak in the regional language. At first, this seems to be unnecessary. But, Once the enquiry was over, when he justified his doings, he told "I dont even know the meanings of Exile, Customs, etc". The first request helped him to hold a strong stand.
The dialogues are the crucial part in the movie. Few eg:
"When my boss accepts that I am working fine, why shud I work for him? I shall work for me."
When AB told its almost dark in the night, ash replied like "U can see many places in the world with dawn or daylight. Why do u always think of ur place only?"
"If u wanna win Guru, u hav to be Guru. But thr is only one Guru".
"What Mahatma did was also against the then law"
Hats off to AzhagamPerumaal (or Maniratnam!) I think, mostly the dialogues were same in hindi and tamil. I told this with my 'thoda thoda' hindi knowledge only. Unlike Uyire the lip movement was somewhat gud in Guru(Tamil)
For the song Ek Lo Ek Muft, SPB did the justification more than Bappi Lahari, it seems. Anyway, its ARR who too helped the movie to bring one step forward. He (was) underplayed and keeps mum in many places. Anyway, though the tune is gud, the Gurubaai beat reminds me of "Viru Viru maandi Virumaandi" tune by Ilaiyaraaja 4m the movie Virumaandi.
The camera was awsome. Some of the spectacular angles... The steps scene when Guru came to Ash house to see her father. The running train in between Ash and Guru, when Guru didnt have words to speak. The handheld camera while Midhun's car was broken.... etc. The song "Tere bina" was taken in a very gud manner, which is simply enuf to bring the fighting couple together.
The art director Samir Chanda... I didnt see any different art work(positive comment only) except in the Ek Lo song. The swaying model. Apart 4m this, I can understand the difficulties in bringing the old town lively. Samir did the job without any mistake. And, the timeframe is shown using the cars also. First it was old Benz, then some premier padmini like cars... then, condessa. And, the number of cars too. First it was very minimal. Then in the middle MR slightly shows the city traffic. hey... If I forgot to tell abt the tram, God wont forgive me. ;-)
The editor Sreekar Prasad also has done his job well. If the editing doesnt look odd, then only the movie is gud. Never it has overcome the script.
Still I dont get any idea abt importing the empty boxes. I think, MR didnt explain it well. In the end the movie again it reminded me of Nayagan. First I thought the climax was not handled properly. But, later knew tat it was only enquiry commission and not the court. When most of the commisions were eyewash, why not this climax? Anyhow, still I am not fully satisfied. BTW, the ending is another spectacular part of the movie. To enjoy the ending u hav to watch the movie right from the beginning itself. ;-)
Tuesday, September 19, 2006
Vettaiyaadu Vilaiyaadu -- Ya... Its true!
Man... Really really something is different in this movie. Right 4m the start up... I hav never seen such a opening sequence for Kamal, or even for any other actors. Be it in editing, be it in camera, the movie stands apart. Actually, I didnt concentrate much on camera(Ravivarman) when I saw the movie the first time. Even, I thought the camera was not as gud as Pudhupettai. Still, the view continues. But, seriously talking the camera is awesome in many places. Especially in the intro scenes of Newyork city. The editing(Antony) also... Thou in some places, it reminds KK, its so gud and fast. One more thing is fight sequences. Kamal is aged, so he cant move a lot and fight. The stunt master(stun Siva?) has done a wonderful job, especially in Bostan fight.
This movie can never be compared with Goutham's previous work, Kakka2. KK still be the best in its genre. It deals with the police officer's life, fighting with the known villain. But, here its not the case.
The movie starts with a tagline, "Another episode of a police officer's life". True! The whole story revolves around Kamal(Raagavan) only. His passion abt his work, his love, his investigation, his chasing etc. In every frame, u can find Kamal. For telling the story neatly, thr wont be Kamal in very minimal frames. Thou the story has logical flaws, like... how the killer easily kills everyone, How the killer avails visa easily, etc., the script is gud. Very gud/apt narration.
Some minute details shud be notified... Prakash Raj was a christian in the movie and so a Jesus foto was thr in out of focus in his home. In the song 'Paartha mudhal naalil', thr came a first night sequence. At tat time, Kamal removed all garments 4m Kamalini. After tat, he touches the 'Thaali', she had smiled and noded 'No'. After this, in a long shot, he kissed her for a long time. And so, she was breathing harder. Kamal signals tat he wud give her some air. ;-) The NY police officer told tat they found a license for a gun but the gun was missing. And, it was the one the killer used when he tried to kill Kamal. When Kamal writes the suspects' names in front of a NY police officer, he naturally writes one of the suspect's name in Tamil and erases it and re-writes in English. When the killer talking to his friend, we can find a poster with the word "Hannibal". When one of the killer constantly insisting to kill the police officer, the other one hugs the fellow and consoles. The other fellow immediately becomes cool and u can find it why in the climax. When the killer tries to kill Kamal the killer wud hav kill him in one shot. But, the killer wants Kamal to die slowly. 'coz its the character of the killer. The killer is a serial killer. ie: Usually serial killers will be intelligent and they will follow the same style whenever they kill someone and their intention will be the same for every murder. These things are brilliantly handled in this movie.
Actually, some felt tat the love scenes slows downs the script. Thou' its true, it cant be taken in this way. Even when the film starts, the director tells that this is a story of a police officer. Then, its unavoidable to hav such scenes and its natural tat love scenes cannot be handled tat much faster as action scenes. I shud certainly mention abt the dialogues in those love sequences. They were so gud. I think I wrote it in KK review itself... After Maniratnam, thr is Goutham to take gentle, lovable love scenes.
The only thing in this movie had a -ve impact is Re-recording. Its gud in some places, whereas in some other places it starts irrirating. Harris shud hav stopped his work with songs only. He doesnt know whr to keep mum... Except very few frames, in every frame u can hear some BGM too... this is not a gud MD's job. Julie Ganapathy is somewhat related to this Psycho genre. HJ shud look into that movie to see how a World class BGM shud be. Thou its not possible to give the output like IR, HJ shud try for some extend.
Kamal's acting... Its perfect man... He lives how a police officer shud be. The majestic, gigantic look, patience and speed, always an alertness, etc., proves kamal again. Need myself to say again??
U can see the movie only for Kamal itself. But, surely its one another Goutham's beautifully waiving movie. Even worth watching for 2nd time. ;-)
This movie can never be compared with Goutham's previous work, Kakka2. KK still be the best in its genre. It deals with the police officer's life, fighting with the known villain. But, here its not the case.
The movie starts with a tagline, "Another episode of a police officer's life". True! The whole story revolves around Kamal(Raagavan) only. His passion abt his work, his love, his investigation, his chasing etc. In every frame, u can find Kamal. For telling the story neatly, thr wont be Kamal in very minimal frames. Thou the story has logical flaws, like... how the killer easily kills everyone, How the killer avails visa easily, etc., the script is gud. Very gud/apt narration.
Some minute details shud be notified... Prakash Raj was a christian in the movie and so a Jesus foto was thr in out of focus in his home. In the song 'Paartha mudhal naalil', thr came a first night sequence. At tat time, Kamal removed all garments 4m Kamalini. After tat, he touches the 'Thaali', she had smiled and noded 'No'. After this, in a long shot, he kissed her for a long time. And so, she was breathing harder. Kamal signals tat he wud give her some air. ;-) The NY police officer told tat they found a license for a gun but the gun was missing. And, it was the one the killer used when he tried to kill Kamal. When Kamal writes the suspects' names in front of a NY police officer, he naturally writes one of the suspect's name in Tamil and erases it and re-writes in English. When the killer talking to his friend, we can find a poster with the word "Hannibal". When one of the killer constantly insisting to kill the police officer, the other one hugs the fellow and consoles. The other fellow immediately becomes cool and u can find it why in the climax. When the killer tries to kill Kamal the killer wud hav kill him in one shot. But, the killer wants Kamal to die slowly. 'coz its the character of the killer. The killer is a serial killer. ie: Usually serial killers will be intelligent and they will follow the same style whenever they kill someone and their intention will be the same for every murder. These things are brilliantly handled in this movie.
Actually, some felt tat the love scenes slows downs the script. Thou' its true, it cant be taken in this way. Even when the film starts, the director tells that this is a story of a police officer. Then, its unavoidable to hav such scenes and its natural tat love scenes cannot be handled tat much faster as action scenes. I shud certainly mention abt the dialogues in those love sequences. They were so gud. I think I wrote it in KK review itself... After Maniratnam, thr is Goutham to take gentle, lovable love scenes.
The only thing in this movie had a -ve impact is Re-recording. Its gud in some places, whereas in some other places it starts irrirating. Harris shud hav stopped his work with songs only. He doesnt know whr to keep mum... Except very few frames, in every frame u can hear some BGM too... this is not a gud MD's job. Julie Ganapathy is somewhat related to this Psycho genre. HJ shud look into that movie to see how a World class BGM shud be. Thou its not possible to give the output like IR, HJ shud try for some extend.
Kamal's acting... Its perfect man... He lives how a police officer shud be. The majestic, gigantic look, patience and speed, always an alertness, etc., proves kamal again. Need myself to say again??
U can see the movie only for Kamal itself. But, surely its one another Goutham's beautifully waiving movie. Even worth watching for 2nd time. ;-)
Wednesday, June 21, 2006
நான் தமிழுக்கு மாறிட்டேன்...
ஒரு வழியாக வழக்கமாக(குறைந்தது வாரம் ஒருமுறை) ப்லாக்கலாம் என்று முடிவு எடுத்து விட்டேன். ம்... விதி வலியது. அவ்வாறு எழுத ஆங்கிலத்தை விட தமிழ் எளிதாக இருக்கும் என்று நினைத்ததால் தான் இப்படி. அதாவது எனக்கு எழுத கடினமாக இருந்தாலும், படிக்க மற்றவர்களுக்கு சுலபமாக இருக்கும். எனது ஆங்கில புலமை அப்படிப் பட்டதாக்கும். :-)
ம்... ஆங்கிலம் உபயோகித்து உபயோகித்து சில வார்த்தைகளின் தமிழின் சமமான வார்த்தைகள் ஞாபகத்துக்கு வரமாட்டேங்குது. ஆகையால் சில பல ஆங்கில பிரயோகங்கள் இருந்தால் மன்னித்தருளவும். இதை எழுதும் பொழுது எனகே கொஞ்சம் சந்தேகமாக உள்ளது... தமிழ் அழிந்து கொண்டுள்ளதா?? இல்லை என்று தான் சொல்ல தோன்றுகிறது. கால மாற்றத்திற்கேற்ப தாக்கு பிடிக்கும் மொழி தான் தமிழ். இல்லையென்றால், 2000 வருடங்களுக்கு முன்பு சமஸ்கிருதம் வந்த பொழுதே அழிந்து இருக்க வேண்டும். அல்லது, 400 வருடங்கள் முன்பு ஆங்கிலம் வந்த பொழுதே அழிந்து இருக்க வேண்டும். பிற மொழிகளையும் தன்னுள் வாங்கி தன்னை வளப்படுத்திக் கொள்ளும் மொழி அழிவதற்க்கு வாய்ப்பு இல்லை. ஆங்கிலம் வளர்ந்ததே அப்படி தானே! எனவே ஆங்கில கலப்பு பற்றி அச்சம் கொள்ள தேவை இல்லை.
ஆனால் மொழி வல்லுனர்கள் ஒன்றை கவனத்தில் கொள்ள வேண்டும். எல்லாவற்றையும் தமிழ் படுத்துகிறேன் பேர்வழி என்று அறிவியல் பெயர்களை கூட தமிழ் படுத்துவதை தவிர்க்கலாம். கல்லூரியில் "தனிமம்" என்பதன் ஆங்கில வார்த்தை தெரியாமல் நான் பட்ட கஷ்டம் எனக்கு தான் தெரியும். (இன்னமும் அது தெரியாது என்பது வேறு விஷயம்!)
ம்... ஆங்கிலம் உபயோகித்து உபயோகித்து சில வார்த்தைகளின் தமிழின் சமமான வார்த்தைகள் ஞாபகத்துக்கு வரமாட்டேங்குது. ஆகையால் சில பல ஆங்கில பிரயோகங்கள் இருந்தால் மன்னித்தருளவும். இதை எழுதும் பொழுது எனகே கொஞ்சம் சந்தேகமாக உள்ளது... தமிழ் அழிந்து கொண்டுள்ளதா?? இல்லை என்று தான் சொல்ல தோன்றுகிறது. கால மாற்றத்திற்கேற்ப தாக்கு பிடிக்கும் மொழி தான் தமிழ். இல்லையென்றால், 2000 வருடங்களுக்கு முன்பு சமஸ்கிருதம் வந்த பொழுதே அழிந்து இருக்க வேண்டும். அல்லது, 400 வருடங்கள் முன்பு ஆங்கிலம் வந்த பொழுதே அழிந்து இருக்க வேண்டும். பிற மொழிகளையும் தன்னுள் வாங்கி தன்னை வளப்படுத்திக் கொள்ளும் மொழி அழிவதற்க்கு வாய்ப்பு இல்லை. ஆங்கிலம் வளர்ந்ததே அப்படி தானே! எனவே ஆங்கில கலப்பு பற்றி அச்சம் கொள்ள தேவை இல்லை.
ஆனால் மொழி வல்லுனர்கள் ஒன்றை கவனத்தில் கொள்ள வேண்டும். எல்லாவற்றையும் தமிழ் படுத்துகிறேன் பேர்வழி என்று அறிவியல் பெயர்களை கூட தமிழ் படுத்துவதை தவிர்க்கலாம். கல்லூரியில் "தனிமம்" என்பதன் ஆங்கில வார்த்தை தெரியாமல் நான் பட்ட கஷ்டம் எனக்கு தான் தெரியும். (இன்னமும் அது தெரியாது என்பது வேறு விஷயம்!)
Thursday, June 15, 2006
Pudhupettai - A different gangster movie in its kind
A much expected movie with a tagline "Survival of the fittest". Thr is no feel-gud factor, no sudden turning points, etc... But, still the movie survives a lot. To write a review, its necessary to point out some beautiful things in the movie. But, for this movie, its very hard to pin point one. In his last movie "7G"s review, Vikatan wrote like "Thou' the director has lotta ideas, he shudnt try to implement all of them in just 3 hrs"... The same comment fits here also. A movie with full of ideas. Full of wonderful scenes. Full of unique styles. Full of scenes that have not been seen in any movies. And of course, Full of violence.
When I entered the theatre, I was thinking that I was going to see a different ganster movie. But, Selvaraghavan took the movie as if he lived with them. He shows a person's growth right from his struggle for living, with reality. He shows the other (torture) side of prostitutes, with reality. He shows the politics, with reality.... Altogether it again proved "Realism == Selvaraghavan"
Some of the beautiful dialogues like "Nee ennai'ai uyiroda vittaa, naan unnai uyiroda viduven" adds a special degree to the movie. Yet the dialogue cud be even stronger in some scenes. But, once we consider it as slum ppl's dialogue, we can easily come to a conclusion that we need not expect more. Dhanush and Sneha delivered the fullest. They acted even with their eyes. And, notably, the characterisation of other characters too handled in a perfect fashion. Thou thr r lotta char (that shud be in a ganster movie), nowhere we will get confused. And also, every character fits in our memory perfectly.
Music, Camera and Editing lift the movie to a new platform. Some camera angles looked even better, like some beautiful top-angle shots, showing the scenes with green tinted for some scenes and red tinted for some violent scenes, etc Even when the movie starts, he shows the red tint first then the green tint, which gave me a feeling that "this movie wud become full of violence, as well as some sentimental scenes". (Yes... even the movie handled some sentimental scenes, which were neatly handled, without affecting the flow of the movie)
Music... wow... Yuvan is trying to reach a new peak. Some powerful BGMs! Even he handled some of the scenes better with silence. (When his father is an expert in muting the BGMs, he will surely do'na!!) And of course, for showing a lean person like Dhanush to become a leader of the ganster, its very necessary to play a stylish music, but at the same time, it shudnt be more heroic, else it wud become comedy. Yuvan knows this techniq and implemented this very well in the movie.
Sharp cuts and very small rapid clippings give full credits to the editor, especially in the song "Enga area ulla varaatha". Some scenes looked different, when the images merged into a black screen and came back with the next scene.
The director shows the fear of those persons(gangsters), after they executed all of the plans(like Munich). And, that too with a single dialogue "Bayapaduraiyaa kumar'u??" and a few powerful scenes. Thou' the movie handled with this type of subject, it has a msg also. A gangster's life is as not easy as we think. If anyone wishes to be a gangster, he shudnt worry(or even care) abt his life.
Anyway, its very hard to review this film after single look. I have to see this movie one more time to understand some runaway scenes. After 'Aayitha Ezhuthu', this is the movie which I am going to have a 2nd look. Surely, it deserves.
------------------------------------------------------------------------------------
Below are some of the comments given by my friends...
** At one point of time, u will probably lose the continuity of the threads, since It has lotta threads. (Of course thr is no confusion. U have to watch it carefully frame by frame.)
** Thou the climax tells the today's truth, it wud teach "Crime doesnt pay"
When I entered the theatre, I was thinking that I was going to see a different ganster movie. But, Selvaraghavan took the movie as if he lived with them. He shows a person's growth right from his struggle for living, with reality. He shows the other (torture) side of prostitutes, with reality. He shows the politics, with reality.... Altogether it again proved "Realism == Selvaraghavan"
Some of the beautiful dialogues like "Nee ennai'ai uyiroda vittaa, naan unnai uyiroda viduven" adds a special degree to the movie. Yet the dialogue cud be even stronger in some scenes. But, once we consider it as slum ppl's dialogue, we can easily come to a conclusion that we need not expect more. Dhanush and Sneha delivered the fullest. They acted even with their eyes. And, notably, the characterisation of other characters too handled in a perfect fashion. Thou thr r lotta char (that shud be in a ganster movie), nowhere we will get confused. And also, every character fits in our memory perfectly.
Music, Camera and Editing lift the movie to a new platform. Some camera angles looked even better, like some beautiful top-angle shots, showing the scenes with green tinted for some scenes and red tinted for some violent scenes, etc Even when the movie starts, he shows the red tint first then the green tint, which gave me a feeling that "this movie wud become full of violence, as well as some sentimental scenes". (Yes... even the movie handled some sentimental scenes, which were neatly handled, without affecting the flow of the movie)
Music... wow... Yuvan is trying to reach a new peak. Some powerful BGMs! Even he handled some of the scenes better with silence. (When his father is an expert in muting the BGMs, he will surely do'na!!) And of course, for showing a lean person like Dhanush to become a leader of the ganster, its very necessary to play a stylish music, but at the same time, it shudnt be more heroic, else it wud become comedy. Yuvan knows this techniq and implemented this very well in the movie.
Sharp cuts and very small rapid clippings give full credits to the editor, especially in the song "Enga area ulla varaatha". Some scenes looked different, when the images merged into a black screen and came back with the next scene.
The director shows the fear of those persons(gangsters), after they executed all of the plans(like Munich). And, that too with a single dialogue "Bayapaduraiyaa kumar'u??" and a few powerful scenes. Thou' the movie handled with this type of subject, it has a msg also. A gangster's life is as not easy as we think. If anyone wishes to be a gangster, he shudnt worry(or even care) abt his life.
Anyway, its very hard to review this film after single look. I have to see this movie one more time to understand some runaway scenes. After 'Aayitha Ezhuthu', this is the movie which I am going to have a 2nd look. Surely, it deserves.
------------------------------------------------------------------------------------
Below are some of the comments given by my friends...
** At one point of time, u will probably lose the continuity of the threads, since It has lotta threads. (Of course thr is no confusion. U have to watch it carefully frame by frame.)
** Thou the climax tells the today's truth, it wud teach "Crime doesnt pay"
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