Nadigar Thilagam Sivaji Ganesan Part 10

[Murali Srinivas]

அனைத்து இஸ்லாமிய பெருமக்களுக்கும் ஈஃத் முபாரக்.

அன்புடன்

[Gopal.s]

Karthick,
Wonderful write up on kappalottiya Thamizhan. It has all the elements required for a short story. Biginning,Development,climax, Character outline,relate to the readers,twist, flow . Even if it is published as a short story,it could have won accolades.
Congrats!

[app_engine]

konjam nalla thamizh kEtpOm (as announced in SLBC those days, I'm reminded of Mayilvahanam Sarvananda) :

[Gopal.s]

http://www.deccanchronicle.com/chann...e-pictures-183

[Gopal.s]

http://nhstella.blogspot.com/2012/07...-ganesans.html

[Gopal.s]

Hi MS,

kid-glove watched it in SJ, CA.

I actually saw it in Sathyam. My thoughts (in brief) recorded after watching it, but didn't feel encouraged enough to post here. But what the heck, I say..

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The essence of acting lies in making and breaking of a man. But is it really played out in sequence or hand-in-hand(!). How do you at once make the man with supereme gravitas and then unmake it, without losing the warrior in him. The majesty isn't established by way of dialogues, but in postures & gestures in the very opening. The grip on the arrow remains firm, even as Karnan overhears and then questions his foster parents. The nuances when the camera dollies back would almost certainly be missed on TV. The flow of emotions and its suppressed facade, then a quick close-up, the corner of the brows unbrows every syllable of 'ennai petraval?'. It is to this key response, he 'chose' to lose control, but the control is lost self-willed. And this is where it accentuates beyond 'ticks', precisely because there is a 'protocol'. The expression is of course registered on the face, but the 'nod' of the body language, with some of the best of hand-acting, that I'd been accustomed to, by silent AND sound era. From Conrad Veidt to Daniel day-Lewis, this mode 'lives' on. It is with no reservations, this thespian should be placed among creme de la creme.

Not to be reduced for gags, or stroking of hair, Karnan's emblematic manners characterizes him. NT establishes the 'mode' of hand-acting, not necessarily mechanically induced (to make up for the stasis of the frame), is 'gesticulating' the internalised feelings in thoroughly specified externalized gestures and movements (the subtleness is in the peripheral details), at the same time. This externalization shouldn't disregard or preempt(therefore never undermine) the internalization involved. So on one hand(to pun), the grip reaffirms the great archery skills, but the 'internalized' anger & hurt is externalized to the appropriate gears for the emotional strictures with which we ought to interpret the character.

Take for example, how the restoration of honor in public, and seedlings of indebtedness is established, one could mute the lines and still 'get' that with imagery of Karnan's hands firmly pressed on Duryodhanan's arms. The whole-heartedness there is symptomatic of Karna through-out, but it is not without nuance. The scene with the Orphaned child, the hand-acting is best seen there. One hand is always 'on guard' (bow, or the kavasam even) for the warrior at heart, the other to caress. The man who would carress & ask 'forgiveness' of the child, without the loss of any of textural coordinates of the M'Lord. The charisma of the great leader and a great warrior. Because the pride isn't to be dropped, even at times of 'forgiveness' from orphaned child.

Devendra sequence, we see him not falling for a poetry of 'disguise', but for actuality of the guise, he unbares the kavasam. The following sequence is the key, when he'd say the inner 'valour' is steely than one's armour. Saguni's verbal scheming manipulates and services Karnan's friendship and would connive him into Brahmastra tutelage. (it's about time, we saw more of the glorious beard in Tamil cinema, KH & RK apart, we need more of it, without the necessity to deglamourize). Here we see Karnan's murderous rage of destruction(of Arjun in particular) once the skill's acquired. The gigantic bug sequence (awful as it is), there's a simultaneous suffering and suppression of impulse, or the post-horse/cliff sequence, the simultaneous nobility and flirtations. Flux of emotions entrance the viewer, never disturbing the trance with which the character's rendered to us.

The 'threshold point' of 'separation' & ensuing conversation with bride's father, the facade is masked with enraged animalistic emotions, muted in 'words' only. Here the actor's not merely 'overacting' (like Pacino, for exaple), but to externalize the internal non-verbal feeling, the audience thoroughly in trance. At no time, is the idea of 'act' apparent. There's no staginess here (there are moments, at worse of times in NT's oeuvre, but this isn't the case when he's fully 'in' it, none more so than a tour-de-force like Karnan).

Round about mid-half of the film, the consideration of length is never felt. Even for the canvass and magnitude of the epic, the 'domestic' harmony disturbed by 'invitation' of the in-laws seems 'relevant'. As Pasolini would put, People and places, invariably bear the indelible marks of the present in some form of other.

Although to be fair, never felt invested much in Savithri's Bhanumati and particularly one song she's in it. There seems to be an attempt to tap into all living and dead sibling chemistry there, though I'm known to be wrong in these matters.

Though the bigger shock was to follow when the most interesting exchanges are shot with absurd choreography, the shot-reverse shot is then made into a static med-long shot for a chunk of it, then it cuts back to s-rs, NTR-NT at its best. So one still wonders why this was to be interrupted. Known for my distrust of the medium-abusers, I had put it down to incompetence. But then one realizes it is for the parallel bursts and overlaps in dialogues, the array of cuts might be less inviting. And the entire geography of the chaotic exchange actually sucks-in. The dialogues are especially enacted with such 'period' panache, but the ruckus over wealth, once again bears the imprint of real issues. The parallel singular framed contrast of Krishna and Dhuryodanan, the play of emotions within the frame, then cut perpendicular to Karnan-Krishna. Within the flamboyance of the 'epic' people & places, the insults & in-fights, the momentary underhanded remark of Krishna and immediate 'no offense meant' to Karnan. NTR And in-laugh

NTR's make-over deserves attention here. Not only is the frame enriched, it doesn't drive away with any jarring effects. NTR is perfection in every sense, Balakrishna puts us to unease in SRR. Virtuoso shots with Krishna-Kunti again is blended to conversation, not for its own sake here. The Omniscience eyebrows a strong counterpoint to Karnan's, in the dolly shots.

The pivotal Karna-Kunti encounter, here's where NT puts in to words of this 'inner' soul, the lack of statis in its wavering, concurrent joy, hatred, sadness, and reconciliation, it is in this manifold, lies its subtlety. There's no boundary to alleviativeness of one's heart. The eternal pain, hurt is put in to words, as the close-up is suffocatingly (in a good way, as intended) 'heavy', but it's in the nuance of every meaningful emotion that he expresses facially, gesticulates every muscle in his body, externalize/internalize, all at once, is where the 'act' loses its stricture and turns in to 'being', organically. It is here, that we see him lose complete control, stripped back to infancy momentarily, but regaining the warrior within. Karna taking in to reality of Krishna's Omniscience that alreadys puts him in serious unfavor vis-a-vis Arjun.

The Battle sequence begin with Krishna's sermon with purpose in mind, cloaked in righteousness of dharma, with the luxry of the 'collateral damage' being absorbed. This is followed by death of the child, the low-angle shot of the warrior placed with 'victorious' (a cardboad-esque goof-up on their part) Krishna-Arjuna, but at least the moves are already in place to underline the 'wronged' righteousness. This deceiving, blaming and various other mral dilemmas suffer exposition in form of that epic song. I managed to stay till the end.

Before I go further, let me add that Karnan's imperfections do not out weigh its virtues. It has many tonal inconsistencies, and the effects do not translate well. Poor props for the bugs, the representation of Gods, etc - the gigantic imagery of Krishna in the war field the lone exception. And above all, enraged NT in red light when the man's already channeling it. The palace & spaces are vast (on big screen than on TV, as it should be) in fact the exterior scenes seem impressive in theatrical experience. The grandness of interiors carries a bit more brightness when contrasts could have helped. For all hindsight wisdom, this is still a supremeachievement for the time. In fact, one is lost for any contemporary 'period' film (or otherwise?) to be compared favorably to the 'bramandam' here. The misuse of the word ought to be stopped in future.
He

[Gopal.s]

Originally Posted by kid-glove
It is to this key response, he 'chose' to lose control, but the control is lost self-willed.

The scene with the Orphaned child, the hand-acting is best seen there. One hand is always 'on guard' (bow, or the kavasam even) for the warrior at heart, the other to caress. The man who would carress & ask 'forgiveness' of the child, without the loss of any of textural coordinates of the M'Lord. The charisma of the great leader and a great warrior. Because the pride isn't to be dropped, even at times of 'forgiveness' from orphaned child.
Very well written.
I've said this earlier and I say again, no-one is as precise as K_G in analyzing acting.
Oftentimes it is about films and performances I don't appreciate. But pieces like this make me want to go back and watch the other films he writes about, which seem to have 'stuff' which I miss

Yuhi Sethu: appo ivan solradhai pArthA..ivan kolai seyyalai pOla irukku dA


Originally Posted by kid-glove
The 'threshold point' of 'separation' & ensuing conversation with bride's father, the facade is masked with enraged animalistic emotions, muted in 'words' only. Here the actor's not merely 'overacting' (like Pacino, for exaple), but to externalize the internal non-verbal feeling, the audience thoroughly in trance. At no time, is the idea of 'act' apparent.
Well put.


Originally Posted by kid-glove
the shot-reverse shot is then made into a static med-long shot for a chunk of it, then it cuts back to s-rs, NTR-NT at its best. So one still wonders why this was to be interrupted. Known for my distrust of the medium-abusers, I had put it down to incompetence. But then one realizes it is for the parallel bursts and overlaps in dialogues, the array of cuts might be less inviting.
Interesting perspective.
I want to watch this scene again...I don't recall now.

Originally Posted by kid-glove
the lack of statis in its wavering, concurrent joy, hatred, sadness, and reconciliation, it is in this manifold, lies its subtlety.
Well put again. ada pOyyA...solli solli bore adikkudhu.

Originally Posted by kid-glove
This deceiving, blaming and various other mral dilemmas suffer exposition in form of that epic song.
Please elaborate (5 marks).

Originally Posted by kid-glove
the gigantic imagery of Krishna in the war field the lone exception.
The same Krishna dwarfed by the mound of corpses he walks over. Whoa!
ஆழமுன்னா என்னா? அது ரொம்ப டீப்பம்மா...
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21st August 2012, 06:43 PM #930
kid-glove
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I don't have the lyrics with me. I wanted to know from someone 'in the know', of the Epic. Maybe you could answer here. Isn't Karna's life ultimately a deception? So when Kannan negates the blame by singing that they are all one and the same. There's also a 'victory pose' kind of smile/jubliation shot when the child and Karnan is put down. Hopefully, that's unintended subversion on their part. It was crude, even to a man like me.

Isn't it morally problematic for the 'omniprescient' Krishna to do all this (with pleasure) but once it's done, trying to negate it with the song? In this divine determinism, the higher Being making the difficult choices he has, moral relativism at play. Also in the Gita, as Zizek quotes, "if the external reality is ultimately just an ephemeral appearance, even the most horrifying crimes eventually do not matter.". What's your take here?

Also on Bhanumati, to extend B(K) point, was there extra-marital affair?
He handles the business.............. I handle him.
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[NOV]

30 days of Karnan in Malaysia....!



Karnan2 - Copy.jpg

[NOV]

Nadigar Thilagam Sivaji Ganesan’s films are on a re-release spree. His Karnan witnessed an incredible response, with the film crossing 150 days. The re-release has also done well in USA. So people holding the rights of Sivaji’s masterpieces are coming forward to release the films yet again.

That said, the next in line is Sivaji Ganesan’s last Telugu film Vishwanatha Nayakudu, which will be released in Tamil. The legendary actor had dubbed for his part in Tamil and Telugu but the Tamil version was not released then even though the film did good business in Telugu. Producer Prasad, who is all set to release the film in Tamil now, is expecting a grand reception among the Tamil audience.

http://www.behindwoods.com/tamil-mov...-20-08-12.html

[NOV]

Sivaji to wow as Nagama Nayakar

Touted to be the last Telugu film of Nadigar Thilagam Sivaji Ganesan, Vishwanatha Nayakudu is all set to be released in Tamil. What's more, the audience can listen to Sivaji's own thundering voice in the Tamil version as well!

Producer Prasad, who's releasing the film as Nagama Nayakar in Tamil, says, "Directed by veteran Dasari Narayana Rao, the film has Sivaji playing Nagama Nayakar, father of Vishwanatha Nayakar, a prominent courtier in Krishnadevaraya's kingdom. The film did good business in Telugu when it released in the late 80s. The makers wanted to release it in Tamil as well, and got the Nadigar Thilagam to dub for himself. But due to certain reasons, the Tamil version didn't see the light of the day then."

http://articles.timesofindia.indiati...-tamil-version