Films of Mani Ratnam

[equanimus]

But if you are in the mood to deride any of his films, there are plenty of LOL-worthy lines / scenes, like the one you qouted.I disagree, I think Mani Ratnam generally gets such dynamics right. Artificial dialogue ellAm vERa debate. (I think that charge itself is quite dubious.) Watching the film as a kid, I was in awe of the film (though the Kamal fanboy in me insisted on placing it just below Guna :)) just as I was with any Mani Ratnam film, but upon revisiting, the one-dimensional melodrama of this film did seem to me like an 'aberration' of sorts for a Mani Ratnam film. I mean, he's this filmmaker who's particularly acclaimed for his portrayal of individual relationships (now the most cliched assessment of MR but it's true nevertheless). Here, the relationships appear fairly one-dimensional. Think of lines like "unna mAdhiri oru aNNan enakku irundhirundhA, en ammA unna eppavO vitteRinjuruppAnga." Such in-your-face lines in a Mani Ratnam film, are they usual?

[equanimus]

But yeah, I make this as a criticism on what is otherwise a very compelling film. It works superbly as a (signature MR) subdued masala film and Rajini (and the way his hero is 'fashioned') is tops, no two ways about it. It's just that I think Mani is not on the top of his game. Even within the early films, I prefer agni natchaththiram to this film.

[SoftSword]

Think of lines like "unna mAdhiri oru aNNan enakku irundhirundhA, en ammA unna eppavO vitteRinjuruppAnga." Such in-your-face lines in a Mani Ratnam film, are they usual?

enna ipdi kaettutteenga...
pidikkila... neenga thottaa kambilipoochi oorrura maadhiri irukku - said to a husband on his face...
but in thalapathys case, its a collector uttering the dialogue to a local rowdy whom he thinks as the enemy of the state..

[equanimus]

dhairiyaththukku (adhAvadhu indha character eppadi andha character kitta ippadiyellAm pEsum-nu ellAm) sollallainga, I mean the contrived nature of such an exchange of lines between the two (Arjun saying exactly what his mother actually did). To be fair, I think such an 'implausible' dialogue could be used to have a great dramatic effect, but then as k-g says, the problem is perhaps that Mani Ratnam is neither here nor there.

[SoftSword]

i understand the context of that line with respect to surya and can very well understand how that thunderbold would have struck in surya's heart which actually mutes hiim for a brief moment..
naanum dhairiyatthukku ellaam sollalai... just brought that in defence to answer ur question if in-your-face lines in a Mani Ratnam films are usual.

[kid-glove]

That mute works for a brief while and RK at his best, in deed. But you have to accept that 'in-your-face'-ness of Swamy's dialogue is on another level entirely, compared to Revathy dialOk, considering the context of the whole plot and the film.

[SoftSword]

accepted.

[Nerd]

Equa, akkini-layE paarunga. Karthik-Nirosha. Now what the hell was that? And he got away with that did not he? Agree thats not as central to the film as Surya-Deva is, but you get the point. And even the Ashok-Gautham confrontation scenes (the dialogue, which I can't recall now just before the famous errest him is in-your-face too, I mean using *that* as a weapon) are laborious. And the less said about the comedy track / climOx the better, very poor packaging and he actually loses control over the proceedings towards the end.

[kid-glove]

In Agni, there's a stiltedness when either of the sons go to the 'other' family. This stiltedness was missing, no? It is what that makes Agni so naturalistic. Even the confrontations. The sons from being at each other's throat to saving their father from deep end, it was all well realized only, no?

Take that Arrest sequence, the 'lowness' on elite son's part, makes it interesting. Arjun has no chinks in his armour, hence the 1-dimensional stick to beat him with.

[Nerd]

Similar moments in T: Rajini looking for collector saar runs into Shobana / Mammootty asking Rajini to kill collector saar. In Akkini Gautham saving Ashok's sis from the villain gang, that train scene, the tension between them, soober.

[venkkiram]

எல்லாம் ஒரு artistic license தான். இதுக்கெல்லாம் கேள்வி கேட்டா எப்படி? பருத்தி வீரனில் ஏட்டையாவின் காதறுக்கும் நிகழ்வும் இந்த லைசன்ஸின் உச்சம். இதெல்லாம் படத்தில் தாரளாமாக வைக்கலாம். ஆனால் விளைவுகளையும் உடனுக்கு உடன் காட்டிடணும். ஏனென்றால் இது(அரசு அதிகாரத் துறையுடன் மோதுவது) ஃபாண்டஸி உலகம் அல்ல.

[sathya_1979]

ellaa scene, dialoguekkum enna reactionnu detailaa kaattinaa padam 3600 maNi nEram Odum :roll:

after that meeting between Deva Gang and Collector Gang, arasu endhiram enna action edukkumnu detailaa kaattiruppaangaLE (Police gang round kattifying and suppressing Deva gang activities)

Surya sound vittadhaala avarukku nadandha special treatment information details ellaam kaattinaalum - Surya va muttiladhaan adichaanga, jattiyOda nippaatti adikkalanu makkaL solluvaanga (bcoz that is police treatment enbadhu idheegam).

[Movie Cop]

One of the problems for thaLabathi was it came AFTER nAyakan.
illaina mattum? :shaking:

[Movie Cop]

Nayakan was right on the money. Remba clear theme and the movie hurriedly get's to it's spirit/essence without wasting time on details which can be clearly assumed/understood without being spoon fed with images. Not a single scene in Nayakan can be called a waste and the movie is at it's precise best without losing out on the emotional quotient. :notworthy:

Being a biopic like Nayakan, Iruvar had much more finesse in execution but Nayakan is first and Mani would have mastered it with Iruvar after doing Nayakan.

[SoftSword]

nayagan : thalapathi - not a fair comparision, pls.

[KlamRoyA]

Y...more or less both r same plot ...

[KlamRoyA]

Being a biopic like Nayakan, Iruvar had much more finesse in execution but Nayakan is first and Mani would have mastered it with Iruvar after doing Nayakan.

IMO, Iruvar is the best of all mani films.. nayakan kooda aduthuthaan...

[equanimus]

பருத்தி வீரனில் ஏட்டையாவின் காதறுக்கும் நிகழ்வும் இந்த லைசன்ஸின் உச்சம்.அய்யய்யோ, அது எனக்குச் சேராது. நீங்க சொல்ற மாதிரி விளைவுகள் எதுவும் கூட இருக்காது. காமெடிக்கு ஏதோ பண்ணிருப்பாங்க. கடுப்பா இருஞ்சு பாக்கும்போது.


ஆனால் விளைவுகளையும் உடனுக்கு உடன் காட்டிடணும். ஏனென்றால் இது(அரசு அதிகாரத் துறையுடன் மோதுவது) ஃபாண்டஸி உலகம் அல்ல.எனக்கென்னமோ நீங்க தளபதில வர்றதயே தனியா சொல்ற மாதிரி இருக்கு. "தெரியாதுடா"-ன்னு சொல்ற சீனை முதல்லயே குறிப்பிட்டிருந்தேனே. Mani Ratnam employs a nice sleight of hand of sorts here that gives the impression that the hero is as such indomitable but also stays true to the realities of the world it otherwise represents. ஹீரோ தனியாளா எதிர்த்து நிக்கற காட்சிகளை மட்டும் focus பண்ணிட்டு, அதிகாரிகள் கட்டி போட்டு அடிச்சதை elide பண்றது. It's very effectively done in the initial "தெரியாதுடா" scene I'm referring to. Bala also does something similar for சித்தன் in பிதாமகன்.

[app_engine]

ellaa scene, dialoguekkum enna reactionnu detailaa kaattinaa padam 3600 maNi nEram Odum :roll:


:rotfl2:

[app_engine]

illaina mattum? :shaking:

Much of the scenes related to "pro-people-don" were novelties in N but dejavvu in T. (It needed a Rajini & his dynamics to lift that scene with the 'poNam' dialog to Shobana).

Also, rombbbbbba-nEram-adichchu-udhaichchu-konnavanOda kuttiya adopt paNNuRadhu is a repeattu.

That way, if not for Rajini (& songs), T would have been intolerable IMO.

[kid-glove]

if not for Rajini (& songs), T would have been intolerable IMO.

So you are saying the film is not worth all that much. Reducing it to that is a bit much.

Personally, I think both N and T would be tolerable without KH and RK. Both are foremost Mani Ratnam films.

Even without IR music, it'd be alright. It'd not be rank bad as one would have us believe.

[Movie Cop]

IMO, Iruvar is the best of all mani films.. nayakan kooda aduthuthaan...
Iruvar is slightly better than Nayagan in terms of execution/finesse etc.

But Nayakan was able to connect with the audience much, much better. Mani's success with Nayakan lies in the fact he makes the audience nod their heads in agreement to Velu Naicker (conveying Mani's message) of "TheriyallayE pa...", when his grandson asks him that nallavarA/kettavarA kostin. The effect Nayakan has on it's viewers once you walk out of theatre (or finish off watching it on TV/DVD) is much, much greater than Iruvar. To me, that is the factor that tilts the scale towards Nayakan over Iruvar.

And, lastly, but not least - Kamalahasan's acting, sheer genius at work! :notworthy: He just lived himself as Velu Naicker for 2-1/2 hours with well nuanced acting.

[Movie Cop]

k-g - A "vambu" kostin to you :lol2:

which is a better adaptation of our epic - Raavan or Thalapathy? :yessir:

[kid-glove]

I haven't read original texts of both epics and only read bad adaptations of both. Which film I'd prefer to watch, it'd be Thalapathy. But I thought Mani was trying a lot of interesting things in Raavanan and it got bashed so badly that it'd have risked a heart attack, if not for Reliance.

[app_engine]

Both are foremost Mani Ratnam films.

அது ஒரு கருத்து.



Even without IR music, it'd be alright.

அது இன்னொரு கருத்து.

[kid-glove]

TFI would (have) survive(d) without film composers, that's a fact. All you meesicals could dribble around that all you like.

[Movie Cop]

Much of the scenes related to "pro-people-don" were novelties in N but dejavvu in T. (It needed a Rajini & his dynamics to lift that scene with the 'poNam' dialog to Shobana).

Also, rombbbbbba-nEram-adichchu-udhaichchu-konnavanOda kuttiya adopt paNNuRadhu is a repeattu.

That way, if not for Rajini (& songs), T would have been intolerable IMO.


Thanks for clarifying, A-E. :) Okay, I see what you are saying. Although when I watched thalapathy first time I never had the Nayakan deja vu. But I've heard many people comparing Thalapathy with Nayakan during the time of it's release.

My "illaina mattum" kostin is more to convey that there is nothing more to Thalapathy other than it being a shiny object for Rajini fans (and quite understandably so) and it's music, including BGM, is bigger than or (rather too good for) the movie itself, IMO.

Thalapathy looked more of a "stunt" from MR. Padatha, Mani saar, oru maadhiri "kuthu madhipA" edhutha maadhiri oru feelingi. The friendship which is the crux of the movie wasn't established well/convincingly, IMO. Because everything that happens after that is Suriya faithfully taking orders from Deva. Lot's of meandering/gimmicks but oru sense of purpose lack aana maadhiri irundhuchu. Let's not even go post Thalapathy. Even comparing "Thalpathy" with pre-Thalapthy movies of Mani - like MN, Nayakan, AN, Geetanjali, Anjali etc. all these movies had an "aani tharam" in the way the characters were built, the relationships were established etc... Thalpathy is still good, way above an average Tamil movie but there is an uneasy, unexplainable "something is missing feeling" in Thalpathy that you would quite often see in MR films (not when he was in his pomp).

Starting from Thalapathy, it was sort of up's and down's for MR until "Iruvar" happened.

[Movie Cop]

TFI would (have) survive(d) without film composers, that's a fact. All you meesicals could dribble around that all you like.

I'm not meesical myself but Veedu, Guna, Hey Ram (to name a few) unthinkable without Raja's score.

If I imagine Arris SeyarAs doing BGM for Nayagan or Thalapathy. :shaking:

[KlamRoyA]

kid.... rajiniyum vendam..kamalum vendam.. music um venam... vera enna thaan venum oru film kku.. :oops:

[Nerd]

Funny that the movie which is often quoted for *friendship* did not *establish* it convincingly :lol2:

And Gitanjali, AN, Anjali > T is :lol2: :lol2: stuff. Gitanjali especially is as artificial as it gets (I like the film very much btw).

[groucho070]

NT's gestural acting alone lifts up ordinary 'maudlin' seem powerful and strong melodrama.

Louis Malle calls NT TFI's Belmondo. 100 Brando's, 200 Mifune's, 300 Belmondo's, 400 Vittorio Gassman's put together would never equal 1000 different faces of NT's.

Bachchan propaganda machinery'lam 70's scriptwriters vechu aadurainga. Bloody retards.You brightened up my day today, thilak. Many thanks :-D

[equanimus]

And Gitanjali, AN, Anjali > T is :lol2: :lol2: stuff.thaLapathi is obviously made on a much bigger canvas and is an iconic film in all ways, but when I say I prefer 'agni n,' I'm referring to the way the emotions are dealt with in that film. In thaLapathi, I don't think you've a scene like the train scene you quoted. Such vulnerable moments of characters, in general the dimension of "pEsApporuL" are missing in thaLapathi but rather they're overturned into something feel-good and maudlin. It not only fails to do justice to the source material but is also notches below how Mani handles emotions in other films. Here it's like most characters are out there to establish each others' goodness. "En-nA nI en naNban.." (such explicit, in-your-face dialogue to someone who's one of your closest friends!) "en aNNan kUdavA nAn iththanai nAL mOdhittu irundhEn..." "unakkoru kudumbam irundhudhunnA adhu enakkum kudumbam, ennai pirikka pArkkAdhadA.." I totally am aware of the giant stature of the film, but the abruptness of such changes of hearts are laughably bad. nInga Bombay's altruistic ending-ai comparison eduththA, I see your point, but 'agni n' nails the changes of heart, especially in comparison to how things transpire in thaLapathi.

[P_R]

enna inga saNdai..
PfullA padikkalai, but AN> Dalpathi for sheer.
Basically AN engellAm underrate paNNappadudhO, angellAm nyAn sambavAmi yugE yugE.

[Bala (Karthik)]

TFI would (have) survive(d) without film composers, that's a fact. All you meesicals could dribble around that all you like.
Meesic, composer illaama cinema vaazhum, right. Peer cinema ku idhellaam embellishments etc ok. However,
1. TFI ku idhu velaikkaavaadhu. Andha level-ku innum naama varla IMO
2. Cinema could well survive, aana naanga survive aaga vonaama?

[P_R]

2. Cinema could well survive, aana naanga survive aaga vonaama? :lol:
Agree.

Comedy and Music are the only two things good 'on an absolute scale' in Tamil Films.
MichadhellAm konjam manidhAbimAna adippadaiyila aNuga vENdiya aesthetic-experiences dhaanE.

Pre-emptive note: "inge konjam blichu ange konjam blichu" exceptions are not counterexamples.

[P_R]

And btw iruvar is boring in parts, nayagan is always interesting, engaging, riveting.
Too many 'pure cinema' attempt scenes in iruvar. idhai ellAm konjam thalai-la thattiyE vaikkuradhu sari dhaan. nee kadhaiyai sollu, kadhaiyai sollu.

[SoftSword]

thaLapathi is obviously made on a much bigger canvas and is an iconic film in all ways, but when I say I prefer 'agni n,' I'm referring to the way the emotions are dealt with in that film. In thaLapathi, I don't think you've a scene like the train scene you quoted. Such vulnerable moments of characters, in general the dimension of "pEsApporuL" are missing in thaLapathi but rather they're overturned into something feel-good and maudlin. It not only fails to do justice to the source material but is also notches below how Mani handles emotions in other films. Here it's like most characters are out there to establish each others' goodness. "En-nA nI en naNban.." (such explicit, in-your-face dialogue to someone who's one of your closest friends!) "en aNNan kUdavA nAn iththanai nAL mOdhittu irundhEn..." "unakkoru kudumbam irundhudhunnA adhu enakkum kudumbam, ennai pirikka pArkkAdhadA.." I totally am aware of the giant stature of the film, but the abruptness of such changes of hearts are laughably bad. nInga Bombay's altruistic ending-ai comparison eduththA, I see your point, but 'agni n' nails the changes of heart, especially in comparison to how things transpire in thaLapathi.

agree on ur point about such dramatical dialogues..
but kaalam kaalamaa cinemala nadakkuradhu dhaanae... in-ur-face 'unna uyiruku uyiraa nesikkiren' ellaam kaalam kaalama nadandhuttu dhaan irukku...
i am not saying this for defending that... but deva-surya friendship is not like a regular friendship no? like it did not evolve from school/college/childhood and they were not hostel mates who boozed/quarelled/shared-glass-of-half-tea/watched-porn/d-bar'red together and the bond came from that... friends... adhu oru mutual-respect'la dramatical'a vandhadhu... adhanaala andha dramatical dialogues'um avlo nerd'alaa therila... avlo nerd'alaa (enakku)therila...

[kid-glove]

Meesic, composer illaama cinema vaazhum, right. Peer cinema ku idhellaam embellishments etc ok. However,
1. TFI ku idhu velaikkaavaadhu. Andha level-ku innum naama varla IMO
2. Cinema could well survive, aana naanga survive aaga vonaama?

TFI is sucked into mediocrity indirectly by these film composers. They are the safe bet for unimaginative filmmakers.

[P_R]

TFI is sucked into mediocrity indirectly by these film composers. They are the safe bet for unimaginative filmmakers. adhai thaan avar thamizh-la sonnAr.

[kid-glove]

adhai thaan avar thamizh-la sonnAr.

I am blaming the composers and this over emphasized priority that they enjoy here in TFI, to indirectly contribute towards aggregation of talentless hacks.

[P_R]

It's not as if, if hacks had been not made palatable by MDs, talented folks would have sprung forth from somewhere to fill the void.

[kid-glove]

Andha level'ku namba innum varala'nu sollradhukku karanamE indha meesic thaan, kanda kEpmari'lam padam edukkrainga.

[KlamRoyA]

Andha level'ku namba innum varala'nu sollradhukku karanamE indha meesic thaan, kanda kEpmari'lam padam edukkrainga.

apo 'Nadunisi naaygal' world standard movie'nu solla varingala.. ?

[kid-glove]

apo 'Nadunisi naaygal' world standard movie'nu solla varingala.. ?

Another hack who grew and became a TFI mainstay due to meesic. Got his arse handed to him, without meesic.

[wizzy]

Andha level'ku namba innum varala'nu sollradhukku karanamE indha meesic thaan, kanda kEpmari'lam padam edukkrainga.

justement...Shankar and others still piggyback on choreographed songs/navel shots

[Nerd]

W.r.to dialogues, neenga nallavaraa kettavaraa-vE is something you don't expect from a 3(?) year old. Mani wanted him to be the representative of the audience, obviously for the *effect*. Effectkkaaga dramatize pannradhu onnum periya vishayamillaiyE, even in Mani saar films.

[venkkiram]

W.r.to dialogues, neenga nallavaraa kettavaraa-vE is something you don't expect from a 3(?) year old. Mani wanted him to be the representative of the audience, obviously for the *effect*. Effectkkaaga dramatize pannradhu onnum periya vishayamillaiyE, even in Mani saar films. சூர்யாவின் காதலி வீட்டுக்கு சென்று பெண் கேட்கும் படலம். முதல் சந்திப்பிலேயே பெண்ணின் தகப்பானாரிடம் தேவா பேசுவது ரொம்ப அதிகப்படி. பேசுவது மட்டும் இல்லாமல்.. கையை மேல வச்சி! வித்யாசம் காட்டுறன்னு பேர்ல மணி ரொம்பவே விளையாடிவிட்டார் தளபதி படத்துல. இதெல்லாம் முதல் முறை பார்க்கும் போது சகிச்சிக்கலாம். ஒன்றுக்கு மேல நிறைய முறை பார்க்கும் போது தனியா துருத்திக் கொண்டு தெரியும். பாத்திரங்களின் பொதுபுத்தியே கேலிக்கூத்தாகிவிடுகிறது.

[P_R]

பாத்திரங்களின் பொதுபுத்தியே கேளிக்கூத்தாகிவிடுகிறது.
பொதுபுத்தி'ன்னா Englishல என்ன?

ஒரு சிலர் common senseன்ற அர்த்தத்துல பயன்படுத்துறாங்க.
ஒரு சிலர் general understanding (சமுதாயத்தின் பொதுபுத்தியில் இப்படி பதிந்துள்ளது etc.) ன்ற அர்த்தத்துல பயன்படுத்துறாங்க.

ஒரே குழப்பம்.

[SoftSword]

i think he means it like character traits/sensibilty of that character

but venki, this is not the first time u hav problems with certain activity of a character no...
adhu creator'oda istam illaya?

[directhit]

Mammooka isn't quite pleased by the film and the synthetic framework of Mani. He after all was part of the greatest melodrama ever made (which incidentally has actively inspired Bala) k-g, details pls..

[tamizharasan]

It's not as if, if hacks had been not made palatable by MDs, talented folks would have sprung forth from somewhere to fill the void.

P_R
Music is very popular everywhere. But in western countries music does not have much impact in Cinema mainly because all the great musicians have their own medium. In India Cinema is the main medium for music and that is why all the importance for music. Everyone knows this but we got to live with it.

[venkkiram]

i think he means it like character traits/sensibilty of that character

but venki, this is not the first time u hav problems with certain activity of a character no...
adhu creator'oda istam illaya? அப்ப நீங்க எதையுமே முழு மனதோடு உள்ளே தள்ளிடுவிங்களா? ஒரு படைப்பாளியின் எண்ண அலைகளுக்கும் பார்ப்போரின் எண்ண அலைகளுக்கும் இடையே இருக்கும் கதவு எப்போதுமே மூடிக்கொண்டிருக்கும்/திறந்து கொண்டிருக்கும் என்பது நியதி அல்ல. அங்கே இங்கே தட்டிக்கொண்டும் முட்டிக்கொண்டும் இருக்கத்தான் செய்யும், அதையும் மீறி எந்த அளவுக்கு ஒரு படைப்பு உயர்ந்து/தாழ்ந்து அதன் தளத்தில் நிற்கிறது என்பதுதான் இங்கே விவாதம். தளபதியை பொறுத்துவரை முழு படத்தையும் ஒன்றுக்கு மேல் பார்த்து ரசிக்க (பாடல்கள் காட்சிகள் தவிர ) ஏற்ற படமாக நான் கருதவில்லை. அதையொட்டியே எனது கருத்துக்கள்.

[SoftSword]

sari kurippittu sollunga.. andha scene'la avar senja endha action ungalaala yetthukka mudiyala...?
thannoda nanbana anaadhappaya'nu solra oru aal sattaya pudichaaru... local don'a irukka orutthan periyavanga sinnavanganu ellaam patthuttu iruppanaa?? oru velai, avar pesinadha ellaam sagichittu avarukku paninjupOi sammadham vaangittu vandhirundhaa dhaan adhu against his 'podhu butthi'... he himself says that when talking to sury, 'cha naan avasarapattu ellaathhayum kedutthuttaen'... apdi avasarapattu yosikkama react panradhudhaane avaroda character...

[SoftSword]

k-g, details pls..

my understanding:

the periyavar-nandha friendship in nandha inspired from deva-surya friendship... both surya and nandha initially were accused of doing something against the deva/periyavar, but were made to be subordinates...

[app_engine]

Having seen / heard of some bigger dramatic transformations in real-life (than the ones happening on the thaLapathi screen), I don't think there's any implausibility w.r.t. the following:
a) suddenness or depth of friendhship
b) suddenness of ammA-paiyyan acceptance
c) behavioural patterns of main characters

However, "geography" is a big problem with T (while it was a big advantage to N). adhu endha oorunga Mani sir?

Similarly, performance problem with A Samy (no issues with the char).

[directhit]

my understanding:

the periyavar-nandha friendship in nandha inspired from deva-surya friendship... both surya and nandha initially were accused of doing something against the deva/periyavar, but were made to be subordinates...
OTOH i think he was referring to Thaniyavarthanam inspiring Nandha movie climax - just wanted to confirm :)

[sathya_1979]

pandavapuram in the lines of Malgudi

[SoftSword]

ooru peru padatthula engayo sonnadhaa nyaabagam...

[app_engine]

pandavapuram in the lines of Malgudi



ooru peru padatthula engayo sonnadhaa nyaabagam...

When one reads the RKN book, that sounded like it belonged to EVERY village of Trichy dist.

OTOH, when one watched T in 1991, it belonged to NO place of TN (IMHO). Landscape / language / people mix / ottu moththa violent behaviour - so untypical / anniyam for the time period (or prior).

[SoftSword]

but andha kaadhai oru kurippitta oora thazhuvi irukkanumnra kattayam illayae... aanaa naayagan padatthoda karu needs a dhaaraavi...

[app_engine]

Remember, it should have a collector office / bungalow / agrahAram / kuppam / DSP / Don etc...Add MLA, continuous violence, thaNNi panjam pidichcha ooru, absolutely no accent in language...:confused: :confused:

romba anniyam :-(

Compare that to N's dhArAvi :wink:

[app_engine]

but andha kaadhai oru kurippitta oora thazhuvi irukkanumnra kattayam illayae...

illai dhAn...edhanAl adhu thEvaiyAna aLavukku manasil 'ottalai' enRu yOsikkiREn...

[sathya_1979]

adhE - difference between adaptation of a life history of a sama kaala manidhar vs adaptation of a life history which happened thousands of years back. The adaptation of the latter is defined by the imaganation of the creator - milieu, culture, mentality, characters etc.
That goes as a limitation WRT adapting the first for portrayal.
Devadas vs Dev D maadhiri

[Nerd]

adaptation of a life history which happened thousands of years back.

really? :mrgreen:

[SoftSword]

lol'lu...

[sathya_1979]

really? :mrgreen:
Yes..

[SoftSword]

sathya how about 90000 pondaatti?
if in case its true, just imagine his hardwork.. nooru varusam vazhromnu vechukittave 36500 days dhaan varudhu... :think:
kannu vera theriyaadhaam...

[Nerd]

Thread dibarant track-la pOvudhu :shaking:

Agni N is as larger than life as thaLapathi is. Don't understand how one would prefer it to T. And T is not a deviation at all, quintessential Mani film. Milieu etc., I had no problems with it. Agree there are many dabbaa scenes, but again, typical Mani.

[equanimus]

W.r.to dialogues, neenga nallavaraa kettavaraa-vE is something you don't expect from a 3(?) year old. Mani wanted him to be the representative of the audience, obviously for the *effect*. Effectkkaaga dramatize pannradhu onnum periya vishayamillaiyE, even in Mani saar films.My issue is not implausibility of the dialogue, Nerd, but rather the inclination to overtly underline emotion, themes etc. via dialogue. "nInga nallavaRA? kettavarA?" is also an expository line (to bring out Velu Nayakkar's internal dilemma for the audience), no doubt, but Mani stops at that, it's brief and also left with a sense of ambiguity. The sort of ambiguity that is quintessential Mani Ratnam (and got only better and better with his later films). adhu idhula missing-ngREn, avvaLavu dhAn. At the end of the day, I don't mean to be too critical of the film at all. It's a very enjoyable film as such. When I was younger, I might have been more interested in the offbeat elements as opposed to the standard commercial elements. Which is probably why I was expecting a more compelling film. But now I'd say the film works best when it operates as a masala film (collector office scene, etc.).

[sathya_1979]

sathya how about 90000 pondaatti?
if in case its true, just imagine his hardwork.. nooru varusam vazhromnu vechukittave 36500 days dhaan varudhu... :think:
kannu vera theriyaadhaam...
60000 / 90000 was for Janaka Maharaja in Ramayanam. Dhirudhraashtrarukkumaa? news to me :lol:

[equanimus]

Incidentally, I was revisiting some scenes from thaLapathi today (just to get a sense of how/where I got this feeling that the treatment in is unsubtle :)). The scene with Surya and Deva after the latter visits Subbu's house with the marriage proposal has the touch I'm referring to. Deva is regretting now that he might have made things worse for Surya and Surya doesn't deny it (he does seem upset but brushes it off) but simply says "vENdAm! iva pOnA enna ippO?" This sort of moment is what I'm talking about. idhu mAdhiri moments avvaLavA illaingaREn. The tone with which the film is playing, one could be forgiven for wondering if it's going to be underlined that Deva did not actually spoil anything, the rejection was a given and so on. That's all.

[app_engine]

I'd say the film works best when it operates as a masala film

+1, Mani Masala :lol2:

[equanimus]

OTOH i think he was referring to Thaniyavarthanam inspiring Nandha movie climax - just wanted to confirm :)Yeah, I also wanted to ask k-g about this. I do think he meant thaniyAvarthanam, but then even Mother India has such an ending. Just curious to know if Bala mentioned thaniyAvarthanam in any of his interviews. k-g?

[Bala (Karthik)]

Equa solradhu, "idhenna kaadhala asingama sollikitte irukkarathukku" range ku overt-a irukku nu. Remember someone mentioning about this, the Set kamminaatti scene, though melodramatic, works well as a natpu scene inthis context

[equanimus]

+1, Mani Masala :lol2:Oh, but Mani knows his masala well! He has consistently made films in commercial format not as a compromise but as something symbiotic to his filmmaking concerns. For those who grew up with his films, this is not so obvious as we've always absorbed his films as a new wave (which they certainly were) so much that we sometimes fail to see how squarely rooted they are in Tamil commercial film format.

[kid-glove]

Bala mentioned thaniyAvarthanam in any of his interviews. k-g?
No...

[equanimus]

Thanks! Great film. Btw I don't doubt the possibility of an inspiration here. It's just that this sort of climax has other precedents. Come to think of it, the influence is likely even as I believe the great Malayalam films of that era must have been under Bala's radar.

[kid-glove]

The recurrent premonitory dream(rather 'nightmare'), central to mother-son, in both films. Definitely one senses an inspiration here.

[SoftSword]

60000 / 90000 was for Janaka Maharaja in Ramayanam. Dhirudhraashtrarukkumaa? news to me :lol:

// dig dhaan

yov adhu dhasaradhar... janagar sita'oda naina illayaa??
naanum konjam confuse dhaan aagitaen.. but karutthu onnudhanae... rendumae epicsdhaan... oruvelai idhu original adhu poli'nu solringalaa...

[equanimus]

True, there are shades of similarity in the question/problem of being possessed. (The implications are different though. Bala probably means that Nandhaa is indeed possessed!)

[jaiganes]

Incidentally, I was revisiting some scenes from thaLapathi today (just to get a sense of how/where I got this feeling that the treatment in is unsubtle :)). The scene with Surya and Deva after the latter visits Subbu's house with the marriage proposal has the touch I'm referring to. Deva is regretting now that he might have made things worse for Surya and Surya doesn't deny it (he does seem upset but brushes it off) but simply says "vENdAm! iva pOnA enna ippO?" This sort of moment is what I'm talking about. idhu mAdhiri moments avvaLavA illaingaREn. The tone with which the film is playing, one could be forgiven for wondering if it's going to be underlined that Deva did not actually spoil anything, the rejection was a given and so on. That's all.
How can one forget the follow up scene on the temple tank where the lovers part and Raaja plays awesome strand of "sundari" set to pathos.
Offcourse we could have been assaulted with repeated scenes of charuhassan expressing his disapproval of surya - but that is not central to the theme of the movie - is it? Also what mani wanted to show was the "stiff upper lip" of our 'educated middle class' towards guys like Surya - it is another recurring theme even as far as until "Ayudha Ezuthu" vis-a-vis Inba's maamanaar. Nice discussion guys - keep it going. hopefully this doesnt end with kabaali trumping thaLabadhi.. hubbukku theeraadha izhukku thedi thandhuraadheengappa.

[sathya_1979]

// dig dhaan

yov adhu dhasaradhar... janagar sita'oda naina illayaa??
naanum konjam confuse dhaan aagitaen.. but karutthu onnudhanae... rendumae epicsdhaan... oruvelai idhu original adhu poli'nu solringalaa...
sorry, naanum confees. reNdumE epics and rendumE original enbadhu IMO. There will always be elements of exaggeration when writing history. But, underlying theme / message is left to the interpretation of reader / viewer / listener. 60000 poNdaatti may or may not be true - aanaa neraya pEr irundhaangangradhu uNmaiyaa irukkalaam. "enakku 1008 vElai irukku, nambaLai paRRi naalu pEr pEsaNum, Oraayiram periyaar vandhaalum ungaLai thiruththa mudiyaadhu etc" - adhu maadhiri idhu irukkalaam - Assigning a number to explain an attribute so that it does not look like abstract / infinite.

[venkkiram]

sari kurippittu sollunga.. அப்பா/அம்மா மேல யார் கைய வச்சாலும் எந்த மகனும்/மகளும் கொஞ்சமாவது சீற்றத்தை காட்டுவாங்க. மணியோட பெண் கதாபாத்திரங்களில் இயல்பாக காணப்படும் துணிச்சல் சுபலக்ஷ்மியிடம் இல்லை. அநியாயத்திற்கு தொடநடுங்கிப் பொண்ணா இருக்கு. ஒரு துணிச்சலான அப்பாவிற்கு பொறந்த பொண்ணா இது?

[sathya_1979]

There she is torn between Surya and her Dad. Devaraj Suryakkaaga pEsa varaama, veettai gaali paNNunu solla vandhirundhaa Subbalakshmi Super Subbarayan kaNakka saNdai pOttiruppaanga

[SoftSword]

venki..
adhu avlo interesting complainta padalai...

[Nerd]

Nayagan on Sun TV. Going back to the point about the in-your-face (unsubtle / bad, if you will) dialogues in thaLapathi:

The dialogue Neela utters 5 seconds before her death - "ippO seththaa naan santhOsamaa saavEn" without knowing absolutely nothing about whats going to happen next. Aint this in-your-face? Why single out thaLapathi? Like I said earlier, typical Mani Ratnam moments.

[kid-glove]

Why single out thaLapathi?

Because it's gay.

[equanimus]

Nerd, brief (i.e. reNdoru) and dramatic varigaL is Mani's style, I'm not debating it. I just find the treatment (dialogue is just one aspect of it) in thaLapathi as one that wallows in its two sentimental cores*. Typically, I feel there's a degree of eschewal, refrainment in Mani's films which I miss here. And I don't mean to suggest this is a big difference or anything.

* The mother-son relationship and the friendship, most other things seem to be at disposal for these two. It is in this respect I gave 'agni n' as a counter-example. Here, though the film is about the two sons, other characters (the sister, the mothers; I just love the bail scene, it's those little moments I miss) are shown to deal with the issue in their own ways.

[equanimus]

And I concede that my disappointment might have been because of how I accessed the film when I revisited it after years, as a gritty crime drama (which it certainly is and that's how I primarily remembered it), Mani Ratnam's take on Karna's story, and so on. So I found the melodrama index too high. As a masala entertainer, it has great moments and works superbly. (But again, isn't the film's tone a little too sombre for that? I think I should see the film again to reconcile my issues with it.)

[ajithfederer]

:rotfl:. Charlie, charlie :)
Because it's gay.

[Nerd]

indha vishayaththai thEvaiyaana aLavukku alasittathunaala -

Suhasini in NVOK - Mani was called by Hollywood production studios, Disney/Miramax, no less, so many times in the last 10 years, but he denied each one of them saying, I want to make movies only for Indian sensibilities. ippO idhai avunga edhukku sonnaanga? edhukkO :-)

[kid-glove]

pOchcharippu pOramai

[venkkiram]

pOchcharippu pOramai :) peer pressure!

[Saai]

Watched suhasini in nvok

She personifies vanity

[Roshan]

Because it's gay.

:lol:

[Roshan]

Watched suhasini in nvok

She personifies vanity

Gonna watch now..

[Plum]

Watched suhasini in nvok

She personifies vanity

Vanity is not probably the right word. Sample this

avar yAru sonnAlum kEtutppAr. oru driver, oru light boy solRadhai kooda madhippAr

In an earlier interview, she said

I organised a garage sale exclusively for velaikkaris in my colony where we sold old goods at throwaway prices to them. nAn avangaLai kooda nEsikkiREn

Privileged, and has no frigging clue of how privileged she is.

[Bala (Karthik)]

Reminds me of an obnoxious aunt of mine. CM Rajini pat to Mani Sir

[Plum]

CM Rajini pat to Mani Sir
:rotfl:

[P_R]

:lol:

[SoftSword]

:lol:

[ajithfederer]

:lol: Good one bala.

[Saai]

Reminds me of an obnoxious aunt of mine. CM Rajini pat to Mani Sir

:rotfl:

[kid-glove]

What is that scene in question? I haven't lasted that film.

[Saai]

What is that scene in question? I haven't lasted that film.

But you wouldn't have missed this scene.... after the epic dialogue by prabhu....

[kid-glove]

Oh that *pat* :rotfl:

[Sid_316]

Because it's gay.


:rotfl:. Charlie, charlie :)

:rotfl:

[ajithfederer]

Was watching the final 45 mins of Iruvar the other day. Have to watch it fully when time permits in future but matter inna'nna this is Mani sir's best-nga. Chanceae illa, Beautiful film-nga. Mohan Lal :clap:. One still wonders how Kamal would have done as Kalaignar there. Mouth watering.

"Namma aatchi oru mooni nera padathukku bayapadra madhiri aagiduchu"

:thumbsup:

[SoftSword]

this is Mani sir's best-nga.

+1...

[ajithfederer]

http://www.youtube.com/watch?v=UgYE9A5zN94&feature=related

pre- climax scene. "Election nerathula rendu perum sirichu pesikitu irukka koodathu" :clap:

[Roshan]

Was watching the final 45 mins of Iruvar the other day. Have to watch it fully when time permits in future but matter inna'nna this is Mani sir's best-nga.

True !

[Roshan]

http://www.youtube.com/watch?v=UgYE9A5zN94&feature=related

pre- climax scene. "Election nerathula rendu perum sirichu pesikitu irukka koodathu" :clap:

Look at the way Lal walk's towards the end. By all standards one of the finest performances ever !

[HonestRaj]

விகடன் பொக்கிஷம்!

மணிரத்னம் அளித்த பேட்டியில் இருந்து!

''படமெடுக்கணும்கற எண்ணம் எப்படி வந்தது? வீனஸ் ஸ்டூடியோ ரத்னமய்யர் உங்க அப்பா என்பதாலா?''

''நிச்சயமா அந்தக் காரணத்தினால் இல்லே. எல்லா வீடுகளைப் போலவும், 'என் துறை உனக்கு வேண்டாம்'கற டைப் தான் எங்க அப்பாவும். அவர் இஷ்டப்படியே என்னை ஒரு எம்.பி.ஏ. பட்டதாரியா ஆக்கி னார். என்னைப் பொறுத்தவரை ஒரு கம்பெனிக்கு டைரக்டரா இருக்கறதைவிடவும் ஒரு சினிமாவுக்கு டைரக்டரா இருக்கறது சுலபம்னு தெரிஞ்சுது! அதனால படமெடுக்க வந்தேன்'' என்றார்.

தான் அமெரிக்கா சென்று ஃபிலிம் டெக்னாலஜி பற்றிப் படித்ததாகக் கூறப்படுவதை 'வதந்தி' என்று மறுத்தார்.

''முதல் படம் 'பகல் நிலவு' தானே?''

''அது தமிழில் முதல் படம். நான் எடுத்த முதல் படம், கன்னடத்துல 'பல்லவி, அனுபல்லவி'ன்னு. அதுல லட்சுமி, அனில்கபூர், விஷ்ணுவர்த்தன் லாம் நடிச்சாங்க. அது 'ஏ அண்ட் பி சென்ட்டர்'ல நல்லா ஓடிச்சு. இரண்டாவது 'உணரு'னு ஒரு மலையாளப் படம். அது கொஞ்சம் பொலிடிகலா, தொழிற்சங்கம் சம்பந்தப்பட்ட படம். சுமாரா ஓடிச்சு. அதுக்கப்புறம்தான் 'பகல் நிலவு', 'இதயக் கோயில்', 'மௌன ராகம்'னு தமிழ்ல மூணு படங்கள் செய்திருக்கேன்!''

https://www.facebook.com/photo.php?fbid=419346021457751&set=a.191659837559705.47843.157956920929997&type=1&relevant_count=1&ref=nf

[A.ANAND]

Conversations with Mani Ratnam -BARADWAJ RANGAN

[MADDY]

Conversations with Mani Ratnam -BARADWAJ RANGAN

http://baradwajrangan.wordpress.com/2012/07/21/coming-soon/

one of the comments in the page caught my eye


looking forward to it, as im doing my PhD in mani ratnam films!.......chain snatching thieves have people doing directorate on their films, hmmm :-) .......its still not released yet, i believe......

[app_engine]

Aish in a MR film again (http://dinamani.com/cinema/article1284085.ece)



1938ம் ஆண்டு கால நாவலான ரெபக்காவை படமாக்கும் முயற்சியில் இறங்குகிறார் மணிரத்னம். இப்படத்தில் ஐஸ்வர்யா ராய் நடிக்க ஒப்பந்தமாக உள்ளதாக செய்திகள் தெரிவிக்கின்றன

[Senareb]

app...it s rumour... cleared by suhashini..:)

[app_engine]

May be both (news and immediate maRuppu) could have come from the same office :lol:

Possibly for free publicity to kadal (using the Aish name)...

[Cinemarasigan]

May be both (news and immediate maRuppu) could have come from the same office :lol:


+1, summa pozhudhu pOganum-la...

[P_R]

We stumbled a lot while making this film. But Mani just got up and dusted himself off and went on to the next thing. He kept his cool. He was tethered throughout the shoot. He withstood storms. And he was not afraid to surround himself with strong contributors like the writer Balakumaran, whose ease with the local syntax and dialect helped to compensate for Mani’s urbanity. There were no egos on the set. Mani would shoot down ideas. He would also accept ideas. When Velu is taken to a brothel in a song sequence, I expressed my exasperation by rolling my eyes. Mani told me that this was a very Western thing, and asked if I could give a more Indian expression. That was a very happy day for me. Suddenly I had someone who noticed these small things that make up a performance. - Kamal

http://www.thehindu.com/arts/cinema/of-course-velu-nayakan-doesnt-dance/article4008896.ece?homepage=true#comments

[Roshan]

We stumbled a lot while making this film. But Mani just got up and dusted himself off and went on to the next thing. He kept his cool. He was tethered throughout the shoot. He withstood storms. And he was not afraid to surround himself with strong contributors like the writer Balakumaran, whose ease with the local syntax and dialect helped to compensate for Mani’s urbanity. There were no egos on the set. Mani would shoot down ideas. He would also accept ideas. When Velu is taken to a brothel in a song sequence, I expressed my exasperation by rolling my eyes. Mani told me that this was a very Western thing, and asked if I could give a more Indian expression. That was a very happy day for me. Suddenly I had someone who noticed these small things that make up a performance. - Kamal

I wanted to quote this para.. :) Thanks Prabhu :) evvaLavu azhagaa solli irukkaar.

[Cinefan]

Kamal :clap:

Goosebump inducing article,this man likes Mani too much I guess.

Made me want to watch the movie NOW

[Anban]

liking Mani too much ellaam illai.. rejected .. look at how he has given a lot of inputs.. he like Mani's desire to do a honest movie.. avvalavu thaan ..

[P_R]

:lol2:

[MADDY]

http://www.thehindu.com/arts/cinema/of-course-velu-nayakan-doesnt-dance/article4008896.ece


The way Kelkar’s death was filmed (and later, the death of Velu Nayakan’s son), I knew Mani was making a really good movie. And also the kind of movie that we all dreamt of making. During the Holi sequence, I told Mani that Velu Nayakan should not dance. And Mani agreed. No director at that time would have agreed to this. Earlier in my career, I told Bharathiraja that the psychopathic killer in Sigappu Rojakkal should not be singing and dancing. But he deflected my objections saying that the song (Ninaivo oru paravai) was a dream song, shot from the heroine’s point of view. At least that made sense. But other times, people simply wouldn’t listen to me, and here Mani simply said, “Of course Velu Nayakan doesn’t dance.”


When we were in Bombay, we spoke to Varada Bhai (Varadaraja Mudaliar on whose life the film is based), and Mani had the audacity to ask him, “How do you foresee your death?” He said he would either die peacefully in a hospital (which is what happened) but left to the police, who couldn’t prove anything against him, they would bring him out of court and someone would slap him. This would cause a riot and they would then shoot him. This sparked the climax in Mani’s head.

goosebumps stuff......esp the second para, so much like the amarkant varma of Dil se, asking a Don daring questions :lol:......a good insight into Mani's thinking process, which is pretty much linear, clear on what he is doing and how he manages to make movies that are less banal......and great writing by kamal in this article

[sakaLAKALAKAlaa Vallavar]

Ithaiyum post panni veppom, since he is wishing for Kadal :)

http://www.facebook.com/photo.php?fbid=448168058553786&set=a.372291656141427.77451.371925396178053&type=1

https://fbcdn-sphotos-f-a.akamaihd.net/hphotos-ak-ash3/527335_448168058553786_1034403419_n.jpg

[raghavendran]

brilliant article :bow:...kind of lived the journey...

just now realised the people who have worked in this film after reading this...Kamal Haasan,Maniratnam,Ilaiyaraaja,P.C.Sreeram,Thotta Tharani,Balakumaran etc....once in a life time combination...

[A.ANAND]

thalaivar maniratnam vaalga...vaalga...vaalga...[theeyira smel innum sila vinadigalil ungga mukkuku]

[Anban]

:lol:
Nayagan is Mani's peak in his career.

Kamal went on to reach greater heights :thumbsup:

but.. Maniratnam deserves credit for this movie.. its not completely his movie though.. it is the least "maniratnam-movie" of all his movies..

[hattori_hanzo]

Super! MeySilirppu, Pullarippu, Goosebumps ellaam. Velu Nayakkare :clap:

[Mahen]

ennathu Nayagan peak ah? Appo iruvar ellam enanga? :evil: For me iruvar was still his best..

[Roshan]

ennathu Nayagan peak ah? Appo iruvar ellam enanga? :evil: For me iruvar was still his best..

Do not bother to reply to Anban when it comes to Mani Ratnam, Rajinikanth, AR Rahman and Hindi movies.

[Anban]

saw Neerparavai trailer in theatres..

Mani saar.. ungal Kadal padamum ithuvum orey kathaikkalam-nu oorukkulla seekiram pesuvaangannu nenaikkiren..

[Cinemarasigan]

Watched some parts of Roja...

One scene where Roja was crying and requesting the minister for the release of Arvind in Tamil and Nasser translating that. At one point minister stops Nasser signalling him that he can understand through the emotions itself ... Superb Direction!!

[tifosi]

Book review of Conversation with Maniratnam.

http://hawkeyeview.blogspot.in/2012/10/book-conversation-with-maniratnam.html

[MADDY]

Book review of Conversation with Maniratnam.

http://hawkeyeview.blogspot.in/2012/10/book-conversation-with-maniratnam.html

excellent analysis.....talks very well abt Brangan's over-enthusiasm looking for things that are not there :lol: ......and his comparison of 2 movies based on some common thread is irritating as said by the author.......i mean, mausam and rockstar - get life man......

but still the book is really worth buying....

"In those moments you realize that Mani is a sharp thinker and a remarkably balanced person"
"I just wanted to read Mani's remarkable clarity of thought, whatever is the question"

mouth watering

[tifosi]

excellent analysis.....talks very well abt Brangan's over-enthusiasm looking for things that are not there :lol: ......and his comparison of 2 movies based on some common thread is irritating as said by the author.......i mean, mausam and rockstar - get life man......

but still the book is really worth buying....

"In those moments you realize that Mani is a sharp thinker and a remarkably balanced person"
"I just wanted to read Mani's remarkable clarity of thought, whatever is the question"

mouth watering

Another reason to buy "A.R.Rahman's foreword was actually very impressive. It was a great start to the book."

[A.ANAND]

A balance within frames

Southern Stars on CNN-IBN features director Mani Ratnam on November 3 at noon and 8 p.m.

Southern Stars on CNN-IBN has been featuring actors, filmmakers, musicians and singers from the Tamil, Telugu, Malayalam, and Kannada film industries.

This week, the programme features director Mani Ratnam who speaks about filmmaking. Actors such as Shah Rukh Khan, Ajay Devgn, Madhavan and Madhoo talk about working with one of India’s most popular filmmakers.

An MBA with no formal education in filmmaking, Mani Ratnam began his cinema experiment with Kannada film Pallavi Anu Pallavi (1983). The story was an exploration of a relationship between a younger man and an older woman.

It would star as its male lead an unknown face then, but one that would dominate Indian cinema a few years later — Anil Kapoor.

Later, he was to stun viewers with Mouna Ragam. Films such as the trend-setting Nayagan (in Time magazine’s All Time 100 Best Films List in 2005), Agni Nakshatram, Anjali and Thalapathy sealed his place as a sought-after director.

With Roja, he took that spot a notch up, making the entire country sit up and take notice. Since that film, a lot of his movies have acquired a political tone — such as in Bombay.

But, in between there always have been films such as Alaipayuthey, Kannathil Muthamittaal, Ayutha Ezhuthu, Guru and Raavan treading different territories.

As for now, the viewers are waiting for the release of his Kadal.

Mani Ratnam speaks

To be a director, you don’t have to know everything; you don’t have to know even cinematography, editing, or music, but you should be able to ask for them. So, not knowing liberates you into asking anything. For instance, if I’m told ‘you can’t shoot here, the exposure is four time more’, to me it pushes my knowledge further.

ACTORS ON MANI RATNAM

Shah Rukh Khan

I think every actor worth his or her salt should get an opportunity to learn from Mani Ratnam.

Ajay Devgn

He is much in love with his work. He has a kind of passion that a lot of people don’t. He is so much into his work that he falls ill. I think he is obsessed with his work, which is the best part about him.

Madhavan

When Mani sir defines a character and says he believes in you, you know you can’t go wrong. The beauty is that he doesn’t let his actors go wrong; you seldom come across an actor who has performed badly in a Mani Ratnam film.

Madhoo

He kept studying me — the way I sat, slept… — when I was in a shot. So, I got to be myself in Roja — you know, even driving the tractor, blowing bubbles, playing cricket with the boys… That was all me. Basically, that girl in Roja was me.

(Catch this week’s programme at noon and 8 p.m. on November 3 and at 1.30 p.m. and 10 p.m. the next day)

http://www.thehindu.com/arts/radio-and-tv/a-balance-within-frames/article4054241.ece

[A.ANAND]

Mani Ratnam, the man behind unique cinema, stars

http://ibnlive.in.com/videos/303708/mani-ratnam-the-man-behind-unique-cinema-stars.html

[NOV]

Guess who is this....

http://sphotos-h.ak.fbcdn.net/hphotos-ak-ash3/530403_447123268668210_163763232_n.jpg

[omega]

Guess who is this....

http://sphotos-h.ak.fbcdn.net/hphotos-ak-ash3/530403_447123268668210_163763232_n.jpg

Ilaya Rathnam

[A.ANAND]

Bharadwaj Recalls 'Conversation With Mani Ratnam'

http://www.indiaglitz.com/channels/tamil/videos/38741.html

[mexicomeat]

has mani ratnam ever shot in a foreign location?

[venkkiram]

has mani ratnam ever shot in a foreign location? He went abroad for Guru. Till then he was 100% Sudesi.

[ajaybaskar]

Mani Ratnam, the maverick filmmaker is not in a great form and his ardent fans are waiting for his strong comeback. Now that latest we heard is that Mani Ratnam has given a nod to Rensil D'Silva who earlier wrote dialogues for Raavan and also a script writer for Kurbaan.

It is to be remember that both Mani Ratnam and Rensil decided to work together for a project called "Lajjo" (1996) and even they have deided to cast Aamir Khan and Kareena Kapoor but the project was eventually dropped. Mani who is currently in Kodaikanal house , where he usually finalize the script .

It is heard that both Mani Ratnam and Rensil have decided to do a period drama which depicts India,Pakistan Partition with a love backdrop. The offiial information on this yet to arrive !

[A.ANAND]

Mani Ratnam's next Hindi film on India-Pakistan partition

While his last Hindi release Raavan didn't exactly set the cash registers ringing, Mani Ratnam has already begun work on his next Hindi film. The project will be based on the India-Pakistan partition.

A source close to the filmmaker says that the script will be written by Rensil D'Silva, who has earlier penned films like Rang De Basanti and Kurbaan.

An insider says, "He has already given a go-ahead to Rensil to write his next Hindi film. The project will be more of drama set in the backdrop of the Partition while there is a love story at the centre of it."

Mani apparently is looking at working with younger actors for this film. This will be the second time that Mani and Rensil will be working together. Their earlier project Lajo didn't take off.

http://movies.ndtv.com/bollywood/mani-ratnam-s-next-hindi-film-on-india-pakistan-partition-337036

[Brianengab]

He went abroad for Guru. Till then he was 100% Sudesi.

wt abt Kannathil Muthamittaal ?

[Russellyhd]

I js lik to share which movies I watched in which theaters for 'Legend' Mani sir movies..

1. Anjali - Cinepriya complex, Madurai (@ 4 yrs.. Konjam konjam gnapagam irukku :) )

2. Roja - Ambigai theater, Madurai

3. Bombay - Abiraami theater, Madurai

4. Dil Se - Abiraami theater, Madurai

5. Alaipayuthey - Chintamani theater, Madurai

6. Kannathil Muthamittal - Ambiga theater, Madurai

7. Aaytha Ezhuthu - Abiraami theater, Madurai

8. Guru - Cinepriya complex, Madurai

9. Raavanan - Fame Cinemas, Vadodara (Tamil version dint rls in surat.. Baroda poi paarthuttu vanthom :twisted: )

10. Raavan - Fame Cinemas, Surat

11. Kadal - Cinepolis, Surat

[Mahen]

Actor Nagarjuna has confirmed that he has signed a Telugu film to be directed by Mani Ratnam. He says he is getting ready for one of the biggest challenges in his career.

"Yes, I am doing a film with Mani Ratnam with Mahesh Babu and I in the lead. And it's in Telugu. Mani gave me a 40-minute narration, and I was clean-bowled by what I heard," said Nagarjuna.

How was Ratnam persuaded to do a film away from native tongue Tamil?

"Actually, Mani has done another Telugu film Geetanjali with me. I guess I bring out the Andhra side of Mani," he said.



The details of the film are still being worked out. But Nagarjuna says it would be a very ambitious film.

"Mahesh and I are coming together for the first time. Audiences would expect something special. At the moment, I'm focusing on the release of my family film 'Manam', which stars my father, my son and me. It is a legacy left behind by my father for my fans. And I am the custodian of that legacy," said the actor.

Nagarjuna is the son of late legendary actor Akkineni Nageswara Rao, and father of young actor Akkineni Naga Chaitanya.

All the best mani saar..sugashini has confirmed it will be an espionage thriller..btw, respect telegu heroes..no ego issues..script that matters most

[Mahen]

it will be a bilingual..

[raagadevan]

Chekka Chivantha Vaanam

Fans of director Mani Ratnam can turn up their collars. After three not-so-satisfactory outings at the movies (Kadal, O Kadhal Kanmani and Kaatru Veliyidai), the filmmaker is back – with a big bang – in Chekka Chivantha Vaanam, a strong revenge drama that explores man’s quest for money and power and how it can override even close relationships.

https://www.thehindu.com/entertainment/movies/chekka-chivantha-vaanam-review-guns-greed-and-glory/article25055158.ece?homepage=true

[NOV]

Verdict: Don't miss.

Maniratnam proves once again that he's a master story-teller. He weaves his magic through an intriguing tale of deceit, betrayal, family, loyalty and love.

Every single character shines and perform their best. Although the movie is long, with no song interludes, you just don't feel the length.

Mani has crafted the story that you always wonder what will happen next.

All your predictions will probably fail.
Anyway not much of twists as you may wont to expect.

Verdict: A classic in this genre... once again! Watch more than once.

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