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Thread: Director Mahendran & IR movies - mullum malarum

  1. #1
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    Director Mahendran & IR movies - mullum malarum

    Dear all,
    Bharathi Raja padap padalgalai solla niriaya irukiradhu.
    Veru sila Directors ai patri parthu vittu marubadiyum thodaralam ena ninaikiren.

    Ilaiya Raja padalgal ena ninaikum podhu, Director Mahendran Avaragalai patriyum, avarin padaipil IR in isaiyai patriyum Solla asaip padugiren.....

    About Mahendran

    http://en.wikipedia.org/wiki/J._Mahendran

    Vishayam therindhavargal ellorum ingae thayavu seidhu pagirndhu kollungal Pl.

    With Love,
    Usha Sankar.
    Last edited by RR; 27th December 2011 at 08:11 AM. Reason: Edited title
    Usha Sankar

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  3. #2
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    unakku aatchEbanai illEnA unnaya kalyaaNam pannikka aasaipaduREn
    The innocent vaLLi starts crying and finally says adhu illEnga
    Sarathbabu goes, naaLiku unga aNNan kitta vandhu pEsuREn.


    Perfect situation for a song and who other than iLayaraja can do perfect justice to vaLLi and her new-found love and happiness..

    The prelude may sound juvenile for ignorant people. vaLLi is an innocent, child-like character and the prelude shows just that. A naive girl on cloud nine. And the tune perfectly fits the bill. The ludes are God-awesome and two minutes into the song, IR gets us to the ninth cloud where shobA is at! We can totally relate to vaLLi's exuberance. Beautiful song is an under-statement.


  4. #3
    Senior Member Veteran Hubber jaiganes's Avatar
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    With Mahendran, There is a range that Raaja achieved that was amazing.
    Raaja being a 'Mood' music composer, Mahendran was a master "Mood" creator in movies they jelled on together like sugar and sweet ness.

    Mullum Malarum alone is enough to prove this:

    1. There is the cheesy and funny "nitham nitham nelli soru" bug by Vani in an un Vani style..
    2. There is mesmerising KJY in "Senthaazham poovil"
    3. The ruckus created by SPB in"Raaman Aandaalum" is unmatched til date
    4. "Adi penne " by Jensi stands tall amongst the company of songs like "Uravenum" and "Aaayiram malargale".

    If we traverse to Master pieces like "Udhiri pookal" and "Nenjathai Killadhe" the emotions and awe they trigger in a connoisseur is undeniable. They not only tranport to the mood of the scene, but they transport you to the 80's, the dusty, melancholic, but innocent 80s. No one did that better than Mahendran and no one could have benefitted better than raja fans like us.
    Thanks for opening this thread and pulling me back here.

  5. #4
    Senior Member Veteran Hubber rajasaranam's Avatar
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    welcome back jaiganes where were you hiding all these days!

  6. #5
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    Any one around here who was between 20 - 30 years when u heard uravenum for the first time..how did u feel..When i heard for the first time in the 90's had a very great feeling abt it..amazing composition..

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    Terrific combo:

    Udhiripookal: The best JM work to date. The Children's theme is emotionally charged (and is a focal point to the film), Raaja's bgm when Vijayan* asks for Charuhaasan's* second daughter - Raaja plays violin with the camera zooming on Charuhaasan's, we get to experience the first reprehensible action of the character, Sundar's theme (Raaja goes for a playful track, thus help JM render the characterization of the new teacher), the final third of the film is tour-de-force (from Vijayan stripping scene to the denouement)!
    (*I can't recollect the character names)

    Mullum malarum, There are many sequences to choose from: Valli cleans the fish (her entry), Engineer dismisses Kaali (Towards the end of this sequence), lorry runs over Kaali's arm, Kaali's loses his arm, kaali's poignant exchange with the engineer, Valli consoles Kaali, Valli-Kumaran love blossoms, Kaali orders Murugesan to marry Valli followed by Kaali beating up Manga, the whole of the final Kaali-Valli moment. Valli's theme is innocence personified. Kaali's varies from poignance to boorishness!

    Though IMO, MM, and UP were somwhat minimalist works from Raaja compared to Johnny.

    Johnny, he stops to record the peasant's folklore, he's alerted by the radio, he cooly spray paints it in red, the opening credits follow - No dialogues whatsoever but we gather he loves his music, he has flicked the car, and we've just met Johnny! JM is truly the first real pioneer of such narrative for Tamil cinema, he takes his pace, and most importantly stays out of crass rushes (or irritating metaphors)! The director is in full control of sight(with DOP) and sound (the film composer). This equanimity would later inspire the likes of Balu mahendra and Mani ratnam. Raaja's genius to aid the master is on full display here. Johnny cons the Jewel shop, Johnny meets his father (montage of snapshots as Johnny narrates), Vidyasagar's intro (from egg gobble to counting the roses), Johnny meets Archana, Johnny's first encounter of Vidyasagar in the barber shop, Johnny meets vidyasagar (Actually all of them are variations of the main motif track for Johnny), the veena music (Johnny deja-vus his mother playing), Vidyasagar-Bama, Vidyasagar kills Bama and her lover (IR's music with the freeze frames renders Vidyasagar's action "cold"), Police chase the duo for murder, wonderful synth work with techno-ish sounds (a bass chorus too) for the chase sequence. Who can forget the classic Johnny-Archana romantic leitmotiv (piano accentuation is one, the other with the woodwinds, the final one played in the chords in the end credits is sublime, piano-guitar-violin making way for the woodwind). As you could see, I could name every event of the film. Raaja fully explores the double identity, and their parallel narratives, their encounters, he mixes it up for the swapping! Raaja's score contrasts the psyche of the characters. Vidyasagar is possessive, and ends up being explosive. Johnny for all his vilely (and calculative) actions, is committed. Archana and Bama are contrasting characters (defied the "then" conventions of rich/poor women) The change of Vidyasagar is the key point, and Raaja's memorable score aided with Rajni's subtle expressions paints the picture. A truly classic ensemble work from Raja IMO

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    Check this out, controlled expressions from Sridevi , who's hurt by Johnny's refusal, IR plays yet another variation of the love theme.

    More later...

  9. #8
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    Thilak,
    Nice write up on Johnny. Towards the end, when the thief Rajini comes to stay at Sridevi's house, there is a small piece with Organ and Drums, which sounded like one of Bach's pieces.

  10. #9
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    Dear Guys,
    Thanks for the responses.
    Anaivarin views um alasalaum - padathin kaatshiyai - ippodhu parpadhu pola oru feelingsai vara vaithadhu.

    Ovvoruarin kadithathirum thani thaniya bhadhil solla asai padugiren....

    Ungalai pola Mahendran FAns idam share seidhu kolla asaip padugiren...

    With Love,
    USha Sankar.
    Usha Sankar

  11. #10
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    About Mahendran - In one magazine, neenda varudangaluku mun padithadhu.

    Isaiyai patri sollum podhu, Mahendran sonnadhu,

    "Cinemavil paduvadhu enbadhu ennal accept seidhu kolla mudiyavillai.Adhanal en padathil, charcters kaga asreeriyaga than mudindhavarai padalai vaipen.Or Character in manadhaga pada vaithu irupen.

    About IR - Ivarin pinnani isai enaku migavum pidikum.En padathin BGM isai migavum pidikum."

    Indha varthaigalin unmaiyai - Mahendran in ovvoru padathilum parkalam.

    About Direction - Characters gunangal - cinema thanamaga illamal nijamana velippadaga irukum.I like this very much.......

    Picturisation - Azhaganavai.Inimaiyanavai.
    thanithanmai vaindhavai...
    Menmaiyanavai.

    Pengalin menmaiyana anbaiyum, aangalin azhuthamana anbaiyum miga azhaga kaatiya oru Soft ana Director........
    Usha Sankar

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