Mendum Kokila...always forgotten when his comedies are mentioned. His mannerism, the naive but cunning dirty middle class family man role is sadly forgotten.
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Mendum Kokila...always forgotten when his comedies are mentioned. His mannerism, the naive but cunning dirty middle class family man role is sadly forgotten.
Yes, I revisited MK some 4-5 years back (was actually seeing it in parts on TV). Kamal was just easing through that role and it was quite a breeze for him. One of those underrated performances of Kamal.
I also need to revisit "Simla Special" sometime in future.
நிழல் நிஜமாகிறது படத்தைப் பாருங்கள். ஒரு சிலக் காட்சிகள் கூட போரடிக்காது என்பதற்கு உத்தரவாதம் கொடுக்க நான் தயார்.
மறுபடியும் மறுபடியும் கமல் படங்களை பார்க்க நினைப்பவர்கள் எப்படி மகாநதி போல மிகுந்த மனச் சோர்வை தரும் படத்தை பார்க்கத் துணிகிறார்கள் என்பது புரியாத புதிராக இருக்கிறது. எப்படி சார்! எப்படி ! எப்படி உங்களால் தொடர்ந்து சோகயுணர்ச்சியை தரும் காட்சிகள் மிகுந்த ஒரு படத்தை ரசித்து பார்க முடிகிறது?
I think it was some time in the mid-80's when Kamal was finding success in Bollywod that he was undergoing some mid-career crisis in Tamil cinema. for his calibre, he was doing some very, very mundane movies like "Uyarandha Ullam", "Naanum Oru Thozilaali", "Kaadhal Parisu" etc. during that period. You could see a bored Kamal just going through the motions in those movies.
Sure, will revisit Nizhal Nijamaagiradhu as well.Quote:
Originally Posted by venkkiram
I have been a Kamal fan since late 70's! :D Anyday, I love to watch Kamal's old movies (i.e '75-'85 phase) partly due to the "nostalgia factor" and partly to see that raw genius in action even in some of those ordinary movies/characters.
Ditto. Mine would be 1983 exactly.Quote:
Originally Posted by Movie Cop
Recently noticed something in the RAdhA RAdhA nee engE songQuote:
Originally Posted by Movie Cop
A regular boring duet shot in Mysore Brindavan gardens
The line "naanalil paai viriththu naan adhil paLLi koNdaen" is sung twice. The first time Kamal sings it and stretches out in a paLLikoNda perumAL pose.
Then when he sings the line again he reaches for something behind his back: a stray piece of grass, which he picks it up, examines it and throws it away - breathing life into a drab moment
:lol:
sila pEru epdi kai kAl vetti aadum kONangi dance matrum parandhu parandhu adikkum rope fight-sai alukkAma fast screenplay-nu sollikittu pArkarAngaLo adhE maadhiri dhAn!Quote:
Originally Posted by venkkiram
The chaplinesque slapstick was evident earlier back then.
Right after he meets the actress for the first time, he'd come rushing, running up the stairs, shouting in excitement, "Kookki! Kookki!" and accidentally pulls out the wooden ball thing at the end of the staircase rail (not sure how to describe that thing) :lol:
(மகாநதியைத் திரும்பத் திரும்ப பார்ப்பவர்களில் ஒருவன் என்ற முறையில்) அது ஒரு படம் என்ற பிரக்ஞை இருந்தாலே போதுமே! சினிமாவின் அனுபவத்தை இப்படிச் சுருக்கிவிட முடியாது என்பது உண்மை தான். ஆனால், மகாநதி எந்த விதத்திலும் ஒரு tearjerker 'ஆகவோ, ஒரு அலுப்புத் தட்டும் சோகப் படமாகவோ பார்க்க முடியாது என்பது என் எண்ணம்.Quote:
Originally Posted by venkkiram
Absoleetly!Quote:
ஆனால், மகாநதி எந்த விதத்திலும் ஒரு tearjerker 'ஆகவோ, ஒரு அலுப்புத் தட்டும் சோகப் படமாகவோ பார்க்க முடியாது என்பது என் எண்ணம்.
எண்ணமெல்லாம் சரி. டீ இன்னும் வரலை.
:lol: எழுதணும்னு ஒக்காந்தா, அந்த எழுத்து தான்... வார்த்தை...
The hard-hitting pathos of Mahanadhi is gradually lessened in subsequent viewings. There's never a rubicon-like almost-dystopian state that would come off as extremely pessimistic (OTOH, I think Kamal isn't at all a pessimist. Neither a cynical nihilist by pure definition). But after the first watch, we pretty much know and make out where their destiny lies, and that there's light at end of the tunnel. As the emotional fulcrum isn't operating towards full blown tragedy (it could be argued the film would turn out better if it went this way, by keeping the despair tone right up to the end with slightest tinge of hope - I'll like the film no less even then.). The ending is tonally inconsistent but otherwise the dramatic construction is superb.
OTOH, it could be argued that this inconsistency isn't a bad thing. As in its title, the tonal changes is akin to a river going from upstream to downstream to nearly stagnating, and yet still gains momentum to thrust forward :)
ya watched mahanadi last nite...
indha padam paatthu enga roome rendaagiduchu...
when i was watching the movie, unfortunately my roommate joined me to watch... there will be one BGM with no voice dream sequence for Kamal and Suganya, for which my roommate said "paaatta oattunga..."
i yelled at him :) "ezhundhu poirunga..." and he went away with a shrunken face poor fellow... he is a new friend whom i know only for two months, man i was harsh :lol:
OTOH i was thinking, was that romance sequence needed when he jus came out of jail and was yet to find his missing kids... innoru scenelayum enakku idhae madhiri thonuchu...
but a awesome movie i would say... performance was good by Kamal but not better than Virumaandi which i would say was above even Heyram.
and aboorva sagodharargal and moonrampirai as app suggested... i would have seen that movie atleast some 10 times in the recent past... :)
ya i want to watch pushpak again. its been a while..Quote:
Originally Posted by Movie Cop
நிழல் நிஜமாகிறது படத்திற்கு அப்பால், மீண்டும் மீண்டும் பார்க்கும் கமல் படங்களில் மேலும் சில..
1) சலங்கை ஒலி
2) உன்னால் முடியும் தம்பி
3) சிப்பிக்குள் முத்து
4) காக்கிச் சட்டை
5) இளமை ஊஞ்சலாடுகிறது
6) 16 வயதினெலே
7) அவர்கள்
8) மன்மத லீலை
9) ராம் லக்ஷ்மண்
10) நினைத்தாலே இனிக்கும்
இதில் சலங்கை ஒலி, அவர்கள், சிப்பிக்குள் முத்து சில இடங்களில் கொஞ்சம் சோக உணர்ச்சிகளை தருபவை. ஆனாலும், மனம் பாரமாகாது.
இந்தியாவுலயே யாரும் இந்தப் படத்தை சொன்னதில்லை. இன்னிக்கு நீங்க சொல்லிட்டீங்க.Quote:
Originally Posted by venkiram
Guru - another mass movie.
There is a fight where Nammavar will be beating the 'adiyalkal' sent by Sridevi. Oh I was thrilled in theater.
For two week that sequence was the main topic of discussion in our groups.
It is definitely not his best in entertainment but very very special to me 8-)
இப்போ ஒரு நகைச்சுவை படம் என்றால் வயிறு குலுங்க சிரிக்கிறோம். அந்த ரசத்தை உள்வாங்குகிறோம். அதுபோல சோகப் படங்களை பார்த்து அழனும் என்பது அவசியமல்ல. தீவிர மன உளச்சலை தரும் படங்களில் ஒன்றாக மகாநதியை கருதுகிறேன். ஒரு சின்னஞ் சிறு சிறுமியை ஒரு பெரியவர் அனுபவிக்க ஆசைப்பட்டு கதவு கொஞ்ச கொஞ்சமாக மூடப்படுவதை காட்டும் போது, எப்படி பொறுமையா அதை கடக்க விரும்புகிறீர்களோ தெரியவில்லை. அவர் ஒன்றும் இல்லாத ஒன்றை காட்டவில்லை. சமூகத்தில் அங்கங்கே நடக்கிறது. இருந்தாலும் அதை படத்தில் அப்படியே காட்சியாக வைப்பது ஒரு வித நோயுற்ற தன்மை என நினைக்கிறேன். இது போல மேலும் பல விஷயங்களை குறிப்பிடலாம். முதன் முதல் பார்க்கும்போதே இதை மீண்டும் பார்த்து ரசிக்கும் கமல் படமல்ல என்ற யோசனைதான் வந்தது.Quote:
Originally Posted by equanimus
இப்போ மூன்றாம் பிறையை எடுத்துக்கொள்ளுங்கள். படத்தின் இறுதிக் காட்சியில் சொல்ல முடியாத சோகம். ஆனாலும் படம் முழுவதும் பாத்திரங்கள் வாழ்க்கையை ரசிப்பதை நாமும் பார்த்து ரசிக்க முடியும். சோகத்திலும் ஒரு சுகம் இருக்கணும். வாழ்க்கையை பற்றிய நம்பிக்கை ஒளி காட்சிகளில் தென்படணும். அப்ப தான் எல்லாமே நல்லாயிருக்கும். மூன்றாம் பிறையில் இறுதிக் காட்சி சோகம் போல பாலு மகேந்திரா படம் முழுவதும் வைத்திருந்தால் எப்படி இருந்திருக்கும்? அதுபோல ஒரு படைப்பு தான் மகாநதி.
காட்சிகளில் வெளிப்படும் உணர்ச்சிகளுக்கு ஏற்றார்போல மாறிவிடும் நான், மகாநதி படத்தை உணர்ச்சியற்ற நிலையில் இருந்து ஒருபோதும் பார்த்து ரசிக்க முடியாது.
:lol: குழந்தை பருவத்தில் யானை என்றால் தனி அலாதி. அந்த சிறார் பருவ விரும்பங்களை இன்னும் அப்படியே அடைகாத்து வருகிறேன். எந்த வித எதிர்பார்ப்பும் இல்லாமல் பார்த்து ரசிக்கும் மக்களுக்கு ராம் லக்ஷ்மணை பிடிக்கும் என நினைக்கிறேன். மேலும் இந்தப் படத்தில் ராஜாவின் சிறப்பான ஒரு பாடல் உண்டு. அதை குறைந்த பட்சம் வாரத்திற்கு ஒரு முறையேனும் இன்றுவரை கேட்டு ரசித்து வருகிறேன். அது "வாலிபமே வா வா". எனக்காக ஒரு முறை கேட்டுப் பாருங்கள்!Quote:
Originally Posted by P_R
ஈக்வா, கம்பராமாயணத்துல ஒரு வரி வரும்:
கைகேயியோட வரத்தைக் கேட்டு லட்சுமணன் கோவமா பேசும்போது, கோவப்படாதே'ன்னு ராமர் சொல்லுவார். அதுக்கு பதில் சொல்லும் போது
இப்பொ கோவப்படலைன்னா, நான் வேற எப்போ கோவப்படப்போறேன்?Quote:
யாண்டோ, அடியேற்கு இனிச்சீற்றம் அடுப்பது?'
மகாநதியின் நீளம், ஆழம், ஒப்பின்மை பத்தி எழுத இதுதான் தருணம். வாரயிறுதி வேற கூடி வந்திருக்கு. கமான்.
:yes:Quote:
Originally Posted by P_R
:rotfl: @ tea innum varala
Reg Thalaivar's acting in Hey Ram: The only person who can surpass Sakedha Raman is Gunaseelan, IMHO
Mahanadhi - a beautiful interpretation of Les Miserables - but with an anger at things at large. In sanskrit there is a word - napumsak - Bharathi writes "AligalukkinbamundO". Subramaniya Siva asked 'Why do you have moustache, even a prawn fish has it'.
A modern day individual is mostly a floating piece of algal floatsam getting swept away by two things - society at large and TIME. Mahanadhi is an auteur's vision to capture both - the sweeping current of scum filled society that makes an individual a 'Napumsaka' and penalises him for his revolt by putting him in a prison from where he has to suffer the current of the second river - TIME. How he swims against and wins his self back is a tale that can stand in international arena along with the likes of "Shawshank redemption" where both protagonists swim through scum (one does it literally, while the other metaphorically - through sona kaachi, through the bilanes of chennai where dishonesty lives on top - alluding to confrontation with venkatachalam on top of a building).
The ending is the most positive climax that does not seem out of place and instills the faith in human conscience. It is one movie worth its weight in gold per celluloid reel.
Araseetram(anger at injustice) that was the heart of Silappadhigaram gets its echo from modern time from Mahanadhi. A movie nothing short of epic.
That would be Gunasekaran, a successor to the one from பராசக்தி.Quote:
Originally Posted by Bala (Karthik)
Maathiptaingala ! :oops:
By the by, "Isayil Thodangudhamma" itself speaks volumes... When is the next freaking collaboration between these two madmen?
thats my most fav song in that movie... also the first song which attracted me in the album when it was released... i was disappointed for that song did not come in full in the movie, one more was for using/wasting the majestic "ram ram..." song during the end credits.Quote:
Originally Posted by Bala (Karthik)
//nice dp bala
Cuttings from Aboorva Sagodharargal, my all time favorite Tamil movie.
Lesson : From 00:44 onwards to 01:02 (Freeze at 01:00 to 01:02)
[Andha clown/viswaroobam transition scene youtube la kedaikkala and i've misplaced my collection of Thalaivar DVDs]
Regarding mahAnadhi, it's debatable whether the ending is tonally inconsistent or not. I don't think it functions like a regular "happy ending." In fact, it's radically matter-of-fact in a sense. Remember, the film cuts to several years later. What makes us think they should still be wallowing in misery? In fact, that's precisely the mode in which standard tearjerkers work. If this were a regular melodrama, there would have been a more definitive full stop put to the lives of at least some of the characters. Krishna himself 'descends' into seeking retribution but is able to redeem his old self in some ways. Also, Kaveri carries on with her life, which is a radical departure in every sense.
And the idea that it's a "picture postcard" ending doesn't hold water at all. Firstly, does it really look like an afterthought? I'm not sure. The film ends where it began, with Krishna's children taking the plunge this time into what life has in store for them. It is not designed to make us 'forget' the past; on the contrary, it is designed to remind us of it. Even in a formal sense, the film doesn't play out that way. It doesn't employ handy techniques like closing with the image of a happy smiling family or something to that effect, but actually cuts to a bird's eye view of the river, pans across the bridge where they are standing and moves away from them along with the river and fades out with a panoramic view of the river bank. As I see it, it is more of a hopeful footnote to the epic arc of the film. The grandchild here is the Parikshit figure who is 'born' at the end of the epic and would carry forward the story. The film offers a closure that is squarely in the tradition of Indian mythology where nothing quite ends in and of itself.
and a beautiful footnote punctuated by the song that completes the arc. The "few years later" also indicates the second passage of time - the inconquerable river - in this instance offering solace and mellowing. Return of the prodigal son of the soil - to be seen in contrast with the Devar magan climax where the prodigal son makes a departure to prison. I couldnt help avoiding making that connection - though i am typically against considering an entire body of work before making a comparison, however such is the uniformity of thematic expression of Kamal's extremely satisfying 90s output.Quote:
Originally Posted by equanimus
It is interesting how Kamal the artist has handled the mahanadi of time personally, quite good in swimming against the tide in 90s, now comes across to me an artist struggling to break the shackles he has placed upon himself.
Now wondering.. is it time for Thevar Magan part 2?
Absolutely. I wanted to touch upon this in a subsequent post. The recurrence of the "தையந் தையந்" chant and the theme song, which runs through the film as Krishna goes through the motions of life, as if it were the 'song of (his) life' itself, as the film draws to a close is crucial in the sense that it invokes all of his past life. None of it is simply a bad dream that's over.Quote:
Originally Posted by jaiganes
The variations of the song are amazing in the fact that same tune, effectively brings out all possible emotions.Quote:
Originally Posted by equanimus
In the song .. "Engeyo thekku thesai"
http://www.thiraipaadal.com/album.ph...R00331&lang=en
Kamal and IR sum up the story with a wonder "EngeyO vandhadhenna en vaazhkai Odam dhaan" underlining the currents that sweep a man and his family off their feet. absolutely beautiful brevity of lyrical imagination.
One more SPB beauty of a song with a killer prelude "Anbaana" aptly describes the departure of the family(from their village) fraught with future uncertainties. Sometimes while seeing the movie, I wonder how Ilaiyaraaja comes up with these wonderful bit songs that punctuate the movie and make it absolutely accessible to everyone. Annaaradhu bit songs compilation must be made immediately.
I agree that it isn't regular tearjerker or melodrama in any sense. Such films end on a poignant note but what I was asking for is to keep the despair tone right up to the end with slightest tinge of hope - rather than giving an optimistic, even if matter-of-fact conclusion. The 'Cycle of life' as it were, brought about by ending the film like its beginning. While one shouldn't round it off as a "happy conclusion", but definitely inasmuch the 'lessons' are learnt (and will always be reminded with caution, physically by Krishna's 'severed' hand and far more scathingly mentally - but the ending isn't interested in that, but rather shows how the characters try to dig back their early selves, going back to where they belong.), and now this serene & safer countryside will be their 'home'. What's more optimistic and picturesque than regaining the old, respectable Identity.
And yes, the ending follows the tradition of Indian Epics. The conflict evokes both the Epics. If swindling is of one, the abduction of his daughter is of another. The daughter is reincarnation of 'Sita figure' to Krishna - in the Saree store, Kaveri's image dissolves to wife's image to Krishna for a brief moment. Forget the visual cues, there's an epic sweep with which the characters are unraveled by time (often times, this is underrated. But this film keeps moving along, and never stands still. And this movement is respected uncompromisingly by its effect on the characters) and place ( Urban misadventures up to the point of Jail, and in Kaveri's case, across rivers of Vindhyas - all counterpointed to their 'home').
I like this scene in Indian when the cop Krishnaswamy (Nedumudu Venu) meets Indian thatha
http://www.youtube.com/watch?v=0fqB4...eature=related
One of the well-directed(in general I think he's undervalued in this regard, conflating writing with direction, and also because of the fetish to paint and ornate objects & places) moments of Shankar.
And Kamal's limitless capability for panache is brought out in that very scene. As an Old Man no less !
Disclaimer : Don't know whether it has been posted here before
Looks like an old interview from (may be 2004). Kamal talks about MN, Viruman and his experience at Rotterdam film festival. I for one always thought that he didn't go there when they screened 3 films of his under "Filmmaker in Focus". Or was that in 2002?. Anyway below is the intree.
`Virumaandi` isn't enough to change Tamil cinema: Kamal
By Subhash K Jha
Why did Kamal Hassan leave the country as soon as his new film `Virumaandi` became a blockbuster? Subhash K Jha finds out.
Where have you been?
I enjoyed making Virumaandi. After that it was time for me to move on. Essentially my trip abroad this time was a period of stock-taking. I had lots of time to be with myself, take walks, think. Decide about my future. This time I wasn’t the limelight moth. The idea was to be as inactive as possible. The only time I allowed the pleasure of business to resurface was when I went to the Rotterdam film festival. Then I went to the US with the film where my production house Raj Kamal Films turned distributor with Virumaandi.
How did it do in the US?
It performed much better than we expected. In the US we got three times more recognition and financial attention than we expected. There’s a large percentage of Tamils among the NRIs. In the US the Tamilians are all Indian whereas in Canada they’re from India and Sri Lanka. They all reacted favourably. But I wasn’t looking at their reaction. I was completely cut off from the excitement for Virumaandi, like a guy who takes hot steam inhalations during a cold. I stayed away from all the excitement. No limelight stuff for me except one beautiful happening.
What’s that?
I met filmmaker Milos Forman in Paris. I’m his fan, though he didn’t know who I was. My friend Jean-Claude Carriere introduced us. Milos was surprised I remembered the title of all his films. Now of course he’s caught in my web (laughs). :lol:
Shouldn’t you have stayed back in India to see how Virumaandi goes?
I had a feeling it would click in a big way. Throughout the making of the film I kept making corrections. Earlier I couldn’t rectify the errors in my filmmaking due to the fear of cost and the fear of delay. Here the delay happened because of extraneous factors (political interference in the film’s title). So no one could blame me for it.
Virumaandi has become a blockbuster.
That’s what they’re saying. But I never look a gift-horse in the mouth. If people are saying Virumaandi has revived the Tamil film industry then I won’t be presumptuous enough to agree. No industry can be altered by one film. When people say a film will change the trend of filmmaking, it never happens in isolation. Likeminded people need to bring about that change.
Does the success of Virumaandi provide you with the impetus to revive your dream project Marudanayagam?
One Virumaandi isn’t enough to revive a project that large. We need 10 million dollars for Marudanayagam. It has to come from abroad. What surprised me was the response to Virumaandi at the Rotterdam film festival where out of 180 entries my film with parochial overtones which I had made about a specific clan in Tamil Nadu, got widely noticed. :clap:
Do you think our cinema is finally being noticed abroad?
We need to carry our cinema forward, free it from the shackles of the bigotry abroad. I’m tired of being asked if we’ve elephants and snakecharmers in India. We’ve to make Hollywood-standard films. I’m bored with what we’re doing. I’ve my own sensibilities as a filmmaker. I want to apply these to international standards. See, everyone here wants to stand on a mount and give biblical sermons. But do any of us have beard enough to take the crucifixion?
So you think Bollywood must behave like Hollywood in order to acquire an international feel?
No ultimately the Hollywood coating has to be pull off our cinema. Hollywood is a multi-cultural talent. The best of Hollywood is composed of all nationalities. Francis Coppola never took his American cinema to Italy. Likewise we need to wear our cultural badge and still look cosmopolitan. I was reading the Urdu author Sadat Hassan Manto from the 1947. He’s truly international in feeling. I’d love to be one of his disciples. I identify with his writing.
Are you enjoying the success of Virumaandi?
For me the enjoyment would come from making my next film. The success of the film has made a point. Audiences memories get blunt when there’s too much room between two successes. Over here your last film is your visiting card. I must say there was a lot of support for Virumaandi before release. After a long time I felt I was provided fraternal support. There was a lot of debate, all productive. My friend music composer Ilaiyaraja said he was moved by the film but worried about it. He was worried the audiences wouldn’t be able to identify with the rural background. He was also worried about the narrative which is like Kurosawa’s Roshomon. There‘re two versions of the truth in Virumaandi.
What next?
I’m talking with Mr Sangeethan Srinivasa Rao. We did Appu Raja, Pushpak and Michael Madan Kamarajan. We’re good friends and collaborators. I like him even more now because he loved Virumaandi (laughs). Our discussions right now are in what Sangeetham calls a nebulous stage.
When will you do a film with Mani Ratnam?
When he’s ready with a story, or when I can give him a story. I hope it happens soon. We’ve been talking about a film. Much as people would like to believe otherwise, there’s no problem between us. We’re both too grown up for hide‘n’ seek. I think the problem is, we need to go beyond Nayakan. I can’t have Mani Ratnam being unsure on my sets. He’s our pillar of strength. He has to be sure about what we do together.
Are you looking at a scenario where you’ll have to produce all your films?
(sighs) It looks like it. It’s more convenient. But I’ll have to leave the marketing to others. I’m not a pundit about what clicks. But I’m a men in the trenches who knows which way the bullets are flying.
http://sify.com/movies/tamil/intervi...15258&cid=2408
appu laughs like his dad..isnt it? :)Quote:
Originally Posted by Bala (Karthik)
The portion from 2:14 to 3:14 - rocking...!
http://www.youtube.com/watch?v=85JfKQsIo3A
awesome sequence (kamal pestering somayajulu for a job) from swathi muthyam...andha innocence in face :clap:
evanum pakkathula kooda vara mudiyadhu!