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Thread: Director Mahendran & IR movies - mullum malarum

  1. #21

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    Quote Originally Posted by equanimus
    Thilak,
    That was a superb write-up on Raaja's work in Johnny. In that book I mentioned in the previous post, Mahendran writes how his films were among the first in Tamil cinema to use background score as an organic part of the film, so aptly fitting the mood of the scene. Mahendran was really the pioneer in *using* the background score as an integral part of the film for accentuating the mood.

    But, all said, I think this usually happens with Raaja "by design." Some very ordinary scenes work so well just because of Raaja's score which sets the mood of the scene much more evocatively than what the writer and the director manage to do.
    Have to read the book. Yes indeed Mahendran "used" Raaja's score. He had a control over it, unlike few other directors of the time who should simply thank Raaja (as you say, it's "by design").

    I also feel Raaja's score "refines" the emotional scenes, and bring novelty to it. His score for the subplots holds that "continuum", with the same peice with variations. Sometimes, a deft touch is the work of the genius.

    I'm reminded of Mani's "Pagal nilavu", which Rangan, and Jaiganesh had written about (recently), I wish they had talked about Raaja's work in the confronation sequences in PN, and AN, or the muscal motif for Periyavar and Velu nayakar. There's Raaja's sketch for the sequences, and the characterizations. In general, the sketch of Raaja to the sequences, and characterizations in Mani's oeuvre has been top rack stuff. It's amazing how he brings different dimensions and qualities to the filmmaker, there's a JM, then there's a Balu Mahendra, Mani saar of course. Then KB, BR, Bala,..then there's a host of other filmmakers. whoa, heavy artillery.

    Raaja's score also helps for fixation of time and place. Jaiganes' elucidated, "they transport you to the 80's, the dusty, melancholic, but innocent 80s." And also, "you are transported into a Bamboo jungle and the "tribal" tone is unmistakably real". This always happens with Raaja's score. Something more than just "nostalgia", it's also not operatic, and yet, it's been "memorable" so to say.

    By the way, it's Sitar that Kanchana plays in the film. It's a divine little piece. Is it a standard piece of music, played as alaap or something, by Sitar players?
    Thanks, my bad. Yes, it's sitar. It's quite evident with how she plays it in the film.

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  3. #22
    Senior Member Veteran Hubber jaiganes's Avatar
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    I cannot but bring in today's music directors and see what is missing in their compositions when compared to what Raaja did in his days. While putting Raaja in the high pedestal we should also acknowledge the simple but hard hitting fact that Raaja was having directors like Mahendran, who picked amazingly beautiful stories and characters for their films. Take Udhiri pookal for instance. Not only the story of trials of an abused family heart wrenching, the serene natural setting and wonderful supporting characters of saamikannu and the superbly crafted scenes like the panchayath scene were an absolute treat for cinema overall and for the composer too it must have been a joy to score for such a subject. The melancholic flute and the montages of the kids and the mother in the valley is poignant enough for the creative team of the lyricist and the music composer to come up with gems and the result is an everlasting portrait of life.
    Mahendran always picked stories that were about people struggling with uncomfortable truths in their lives, be it Kali having to adjust to physical handicap, or Aswini having to put up with a sadist for husband, vidyasagar and johnny both having to adjust to their predicament of financial and personal shortcomings. This trend was continued even till Rajini starrer "Kai kodukkum Kai" where rajini's character had to reconcile to his victimised wife. This inherent awkwardness in the characters gave rise to a lot of untold situations, gaps - that would lose their meanings if the character had to express the uncomfortable truth. And this is where Raaja would come in. Case in point is Sarath babu's predicament of having to live with a snob of a wife while finding recluse in the company of a woman friend - a relationship that is misunderstood by his shrewish wife. Such small plot and character devices make the proceedings in a Mahendran movie deeper than usual and lend enough scope for people like Raaja to revel.
    Whereas today we are in an era of non-linear narratives and splitscreens, but ever more shallower characters who are paper thin in their motifs and motives. It is hence not unusual to see the current crop of music directors to put their energy into catchy songs that sell more than compose deep and everlasting tunes with soul and expression.
    With due credit to Raaja whenever a script with quality has been provided to him he has tried his bit to elevate the proceedings as is evident from a retrospective viewing of classics by mahendran or Balu.
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  4. #23
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    Here is another simple yet bewitching melody from poottAdha poottukkaL. Signature Mahendran picturization

    I have not seen this movie. In fact I have just seen 8 movies of his:
    Uthiri pookkaL
    muLLum malarum
    johnny
    nenjathai kiLLAthE
    metti
    kai kodukkum kai
    naNdu
    kaNNukku mai ezhuthu
    (Arranged in the order of my liking :P )

  5. #24
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    Quote Originally Posted by app_engine

    How come Kamal was never in a Mahendran project? That combo with Raja could have produced another classic. ( I remember watching the Mahendran interview in kumudam.com where he narrated about how Kamal helped him complete muLLum malarum)
    Dear app,

    Mahendran was supposed to direct Kamal and you know which movie? It was Meendum Kokila. There was a full page ad in Dina thanthi in 1979-80 which showed Kamal along with SriDevi and Rekha (Hindi) with Mahendran's name in the director's slot. But due to reasons undisclosed, Mahendran dropped out and GN. Rangarajan stepped in. After some days of shooting now it was the turn of Rekha to go out and Deepa to get in. Had always thought about Mahendran directed Meendum Kokila though GNR did a decent job.

    Same manner another movie announced again through Dina thanthi full page ad had raised lot of expectations. The ad was like this

    முள்ளும் மலராகும் இந்த 100வது நாளில்

    எங்களது அடுத்த படைப்பு

    எந்த ஊர்?
    எந்த பஸ்?


    மகேந்திரன்
    பாலு மகேந்திரா
    இளைய ராஜா

    It showed Rajini in a conductor's attire. This immediately aroused lot of expectations. But nothing came out after this.

    Regards

  6. #25
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    Thanks for the info, Murali Srinivas!

    meeNdum kOkilA is another movie that I never had a chance to view. All excellent songs! ponnAna mEni was my fav, though chinnanjiru vayadhil was more popular. (Was Mahendran involved when songs were composed and recorded, by any chance?). I think this was a Kovalan-KaNNagi-Madhavi kind of story, with less drama (for e.g. no pANdiya mannan)

  7. #26
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    Murali sir, interesting info esp. Rajini's adv.

  8. #27
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    Mahendran kum IR kum MOZHI THEVAI ILLAI enbadhai pola oru scene and Music....



    My SPECIAL THANKS to Starmusik.......
    Usha Sankar

  9. #28
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    Title song of "MUllulm Malarum"

    (title song manadhil padhivadharkavae sila padangalai marubadiyum parka vendum enru ninaitha kalam...)

    Manidhargalai Avargalin Iyalbil (Cinemathanam illadha ) kaatiya oru Great Director....

    Usha Sankar

  10. #29
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    Nice Character - Fadafat Jayalakshmi...

    Saapatu Rami...

    Rajini - seriyana Nakkal....Ragalai Rajini kalyanam ana udan - Beautiful Change......


    IR - Simple katam and Morsing. BGMS aga fill pannum IR al, Simple sound ilum Inimaiyana composing aiyum thara mudiyum ena unara vaitha oru padal.....

    Usha Sankar

  11. #30
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    Mullum Malarum Climax

    Enaku migavum piditha mudivu idhu.

    Oru sila padangalai pol illamal - ie - Annan enbavan - Thiyagi - Thangai enbaval pasam enra peyaril - kannir vittu kannir vittu - avan sothai kaali seiyum oru uravu - enru illamal,

    Annanin pasathirkaga - kadhalai vidum thangai character - adhilum siru unmai - mudhalil kadhalai vida ishtam ilai dhan... Analum,

    kadaisiyil Annan mel ulla pasam vendru, kadhalai vidum thangai character - I love this type of sisterhood....

    Adhai purindhu kondu, kalyanam seiya sammadhikum Annan ...

    Director Mahendran - ORU KAVIDHAI .. Manidhargalin Unmai managalai Ulladhu Ullapadi kaanpitha oru Director.....

    Podhuvaga, kadhaigal cinemavaga maarum podhu,

    Kadhai alavuku cinema nanraga ilai enra unarvae ellorukum varum...

    Kadhai - niriaya imagination ku idam irukum.

    Cinema - Ellam visual...

    Anal,
    Indha padathai porutha varai, Azhagana kadhai - Azahgaga Direct seiya pattu irukiradhu...Kadhaiyai ,kedukamal.....

    Nice to See Egoist Rajini, Innocent SHobha,
    Rajiniyai porumaiyudan samalikum Sarath babu, Velipadaiyana Fadafat, OOr makkal Ivarkaludan - IR - Indha anaivarin Unarvugalukum Isai amaitha IR - IR in BGM ai purindhu kolla yezhu jenmam vendum......

    Usha Sankar

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