Films of Mani Ratnam

[kannannn]

Nerd, I don't know if Karunanidhi really asks his wife 'Oru kuvaLayil kuLambi neer kondu, vaa en komaLame'. But, fair enough!! Maybe, just one of the many things we disagree on .

[Nerd]

kannannn: I see that scene as a *cute* scene, if you know what I mean. He wont be talking like that, *everyday*. Anyway lets move on

Tale of a dreamer admirably told -- Guru

http://www.hindu.com/fr/2007/01/19/s...1900130200.htm

[OnMyWay]

Nerd, I don't know if Karunanidhi really asks his wife 'Oru kuvaLayil kuLambi neer kondu, vaa en komaLame'. But, fair enough!! Maybe, just one of the many things we disagree on Smile .

kulavi- tumbler
kulambi neer?

[thinkfloyd]

You should watch other pathetic attempts at terrorists movies like the latest Kabul Express. Do you exactly know what runs in the mind of a terrorist and why did he become a terrorist and things like that?

Drohkaal

[thimuru]

Nerd, I don't know if Karunanidhi really asks his wife 'Oru kuvaLayil kuLambi neer kondu, vaa en komaLame'. But, fair enough!! Maybe, just one of the many things we disagree on Smile .

kulavi- tumbler
kulambi neer?

TEA

[thinkfloyd]

About the best director, are you talking about art movies or commercial movies? There are much better directors in both formats. See that's another problem: He tries make his audience believe that he gives them the best of both worlds, which he doesn't. What we get is in contrast, a confused mix of both formats.

Anyway, all of Mani's movies are a coming together of the best. What is his director's mark? Where does his uniqueness lie?

I go with Kannannn.

[Nerd]

You should watch other pathetic attempts at terrorists movies like the latest Kabul Express. Do you exactly know what runs in the mind of a terrorist and why did he become a terrorist and things like that?

Drohkaal

Santosh sivan's terrorist is any day a better movie than DK. DK succumbed to a lot of commercial elements. The point is, no one knows a *complete* terrorist. Who knows, there may be a few good ones like what they showed in rOjA. anbE sivam dialog dhAn. "thIviravAthinA ennaya maadhiri asingamA irukkanumnu avasiyam illa". There is a flip side to everything

And one more thing is MR haters will hate guru to the core, since guru is almost a medley of a lot of his old movies

[selvakumar]

I have not seen GURU ! But just found this one on the net

http://thirumoolan.blogspot.com/2007...tion-that.html

[nerdy]

//dig
Guys


I have created a new thread "Best Actor of the Country" in Indian Film Sections.


http://forumhub.mayyam.com/hub/viewtopic.php?t=9120

//dig

[P_R]

Iruvar: The worst thing about Iruvar is it's artificiality. I was laughing hard when Prakash Raj was mouthing dialogues in chaste Tamil to Tabu and Mohanlal. Mohanlal was the only saving grace in an otherwise forgettable movie.

Agree that dialogues (suhAsini) were very very ordinary in Iruvar. Some parts played up the word-tactics well (like the nANayathukku iraNdu pakkam by thamizchelvan in the assembly and nAn mEdai pEchALaNA by Anandhan on stage). But MR seemed to cut every scene short of its greatness (like Nasser commentiing to Prakash Rak ; unga naNbarukky makkaLai eppidi thanvasappaduthaNumnu therinjirukku. Why do you need to say those lines ? It has been mad amply clear in the scene and in the earlier scene on the roof of the house (with RahmAn in great touch). Later, the beachside conversation to Tabu was terrible in its plain-ness.



In the foreword to Sujatha's screenwriting book , MR mentions that he is forced to write because of the paucity of writers. The line you quote from Kannathil MuthamittAl is of course dumb. BombAy climax was as dumb as it gets. But it is the same man who had beautiful dialogues in several other films.

Nayagan was one of BalakumAran's finest and right till Aayitha Ezuthu MR has used Sujatha better than anyone else has.That his dialogues are too short is blown out of proportion. He wrote great dialogues in Mouna Raagam, memorable ones in AlaipAyuthE, even Roja (sujatha ?).SuhAsini had much better dialogues in Indira (MR wrote the screenplay, perhaps he wrote the dialogues too ?).
For a moment try and forget the pesky brats in Anjali (it's hard but try ), the conversations between the brother and sister was really well done.

Iruvar is one of his finest films. To say MohanlAl was the only saving grace in Iruvar is unfair. PrakAsh Raj richly deserved his national award. The scene with the flower crown when the crowd rushes away when Anandan arrives, is beautiful. Even the reaction in the railway station when he is informed of Anandan's death. The scene where he butts in (before anyone else does) to tell Anandan that he had objected to his nomination. Even Ais was good - and that's no mean achievement- when she says 'adhE kaadhal varalai ?'

RahmAn was excellent. Imagine the opportunity to recreate Tamil films from ManthirikumAri to AnbE Vaa. Has he ever used ManO before/since 'aayirathil nAn oruvan ?'.

The movie did not raise important question about the Dravidian movement. Nor did it bring out the cultural impact it had, nor was the political situation analyzed (except for nAvalar RajEsh's comment on the the ubiquity of corruption). Perhaps then for all his trilogy (quadrology ?) MR isn't the kind to get you thinking about war/peace/morals etc. Iruvar was simply about the private and public lives of the duo. And that was handled pretty well.

Anyway, all of Mani's movies are a coming together of the best. What is his director's mark? Where does his uniqueness lie?

I don't understand this at all. Isn't the director's job exactly about the getting the best out the team. He gets the best out of his MDs, lyricists, his actors and technicians.

And it's not as if he stuck with the same team all the time.He has worked with a variety of technicians: PC Sriram , Rajeev Menon, Santosh Sivan , Ravi K Chandran and they have all excelled in his films. ThOttA DharaNi to Sameer Chanda (imagine trusting him to recreate the Tamil milieu in Iruvar) . ARR and IR are too obvious to mention. Thalapathy and Nayagan even more. What sort of 'mark' ?