naan mahaan alla ( 1984 film )
this article is about the 2010 film. for the 1984 film, see naan mahaan alla (1984 film) .
this article is about the 1984 film. for the 2010 film, see naan mahaan alla (2010 film) .
the film was originally titled naan gandhi alla but, following a court order, was retitled naan mahaan alla .
‎naan mahaan alla (1984) directed by s. p. muthuraman • film + cast • letterboxd
film: naan mahaan alla (1984) music: ilaiyaraja artist: s. p. balasubrahmaniam, s. janaki
naan mahaan alla (1984) tamil movie cd - rip 320kbps mp3 songs music by ilaiyaraaja - starmusiq. com
this soundtrack was composed by maestro illayaraja for the 1984 tamil film naan mahaan alla starring rajnikanth, radha directed by sp muthuraman .
naan mahaan alla (english: i' m not saint) is a tamil film is directed by s. p. muthuraman. the film during production was referred to as naan gandhi alla. the film was a remake of hindi film vishwanath .
` naan mahaan alla' will be stylish as well as realistic. the film which started in september 2009 has been scheduled for release in august 2010 .
karthi - tamil movie news - dayanidhi opts for karthi... udhayanidhi prefers arya - karthi | arya | naan mahaan alla | madharasapattinam
naan mahaan alla is a 1984 tamil action, drama film, directed by sp. muthuraman and produced by kavithalayaa productions. this film stars rajnikanth, radha, cho, nambiar in the lead role. the films soundtrack and background score were composed by ilaiyaraaja with lyrics by vaali .
as far as naan mahaan alla – yet to see it – with curiosity factor surrounding the kubrickesque bunch of bad guys from “a clock work orange” playing antagonists is all too compelling .
karthi is one of the hottest stars of this year with three consecutive hit films. this year he had the first super hit 'paiyaa' publicising his ability. 'naan mahaan alla' is his fourth film. the title has reused taken an old rajinikanth film released in 1984. that had rajini and radha and this new film has karthi and kajal agarwal. the similarities end there. the story of karthi' s 'naan mahaan alla' has no resemblance to the super star film. while that was a story of lawyer who becomes the nemesis of the villains, the new film is all about a wishful romantic .
` naan mahaan alla' directed by suseendran of 'vennila kabadi kuzhu' fame. this is a different film for the director as his first film was set in a village backdrop and 'naan mahaan alla' is a city - centric flick. this film is produced by k. e gnanavel rajan of studio green films in collaboration with s. r. prakash babu and s. r. prabhu. studio green is the banner which gave riveting films like 'sillunu oru kadhal' and 'paruthi veeran' .
naan mahaan alla is a tamil film is directed by s. p. muthuraman. the film was a remake of hindi film vishwanath. produced by rajam balachander, pushpa kandaswamy written by a. l. narayanan, story by subhash ghai, starring rajinikanth, radha, m. n. nambiar, v. k. ramasamy, cho ramaswamy, senthamarai, sathyaraj, bhaskaran kannan, leo sangili murugan, music by ilaiyaraaja
the hottie in telugu after the blockbuster 'magadheera', kajal agarwal is the heroine of the film. in tamil, she was last seen in saran' s 'modhi vilayadu'. her character in 'naan mahaan alla' is cute and bubbly, something on the lines of what asin played in 'ghajini', says the director .
song from superhit tamil classic movie naan mahaan alla (1984). singers: s. p. balasubrahmanyam, s. janaki, s. p. sailaja star cast: rajinikanth, radha, m n nambiar, sathyaraj, v. k. ramaswamy, senthamarai, leo prabhu, sangili murugan, bhaskaran. music: ilaiyaraaja story: subhash ghai writer: a. l. narayanan director: s. p. muthuraman
then came a phase when rajinikanth abruptly chose to quit acting, but then was coaxed back by family, friends and fans. he continued acting with the blockbuster tamil film billa (1980), which was a remake of big b' s superhit film don (1978). with its phenomenal success, rajinikanth was accepted as a full - fledged hero. billa was followed by a row of hits, namely murattu kaalai (1980), pokkiri raja (1982), thanikattu raja (1982), naan mahaan alla (1984), pudukavithai (1982) and moondru mugam (1983) .
nallavanuku nallavan is a tamil film, directed by sp. muthuraman. the film is a remake of the 1982 superhit kannada film jeevana chakra that starred vishnuvardhan and raadhika sarathkumar in main roles .
director suseendran assures that 'naan mahaan alla' contains 100% entertainment factors with the right mix of comedy, romance, action and sentiments. karthi had said ,
when director suseendran was narrating the first half of the story i was laughing. i asked him whether i would be suitable for the role of an ordinary middle income youth. he said i will fit the role. for the first time i rehearsed for this film. i rehearsed for one week .
the satellite rights of the film were sold to kalaignar. the film was given a
u / a
cerficate by the indian censor board .
rajinikanth has received a gamut of awards for many of his films. he bagged the filmfare best actor (tamil) award for nallavanuku nallavan in 1984 and for muthu in 1994 .
the satellite rights of the film were bagged by kalaignar tv. the film was given a
u / a
cerficate by the indian censor board .
, which failed to commence due to financial problems, he decided to first direct a film featuring a known lead actor, before coming back to that film .
wow …this is the only genuine appreciation for vamsam i have read till now. that too categorically in detail. and the naan mahan alla – what a let down. wish they had made a story about the birth, rise and fall of the antagonists instead. something on the lines of naan kadaval where the all powerful hero comes to demolish them. suseendran looks more comfortable handling those guys that the happy - go - lucky hero (not the protagonist) part .
started to work on the script for his next film. initially planning to do one titled
he acted in his first cameo role alongside child actor meena durairaj in the movie anbulla rajinikanth (1984). more box - office hits dominated the 1980s with padikkathavan, thee, velaikaran, dharmathin thalaivan, mr bharath and maaveeran .
in his 100th film, sri raghavendra (1985), rajinikanth played the hindu saint raghavendra swami .
for his previous film. the soundtrack album, which was released on 16 july 2010 at sathyam cinemas ,
he garnered accolades for the film' s score as well. as per suseenthiran, the music was
crucial
in the second half of the film, which was the reason for opting for yuvan shankar .
this film will be an extension of karthi' s image in 'paiyaa'. according to the director suseendran karthi' s role in this film is almost the same as senior karthik' s role in mani ratnam' s 'mouna raagam'. this film will showcase another romantic side of karthi ala paiyaa, sources say .
mr. bharath is a tamil film is directed by sp. muthuraman. the film stars rajnikant, sathyaraj, ambika, goundamani, s. v. shekhar and others. the plot is about a son' s revenge against his father. it is a remake of the 1978 hindi film trishul which starred amitabh bachchan and sanjeev kumar .
in this article, i join him in the debate he has rekindled. i offer a more local contextualisation of the film, looking at the political influences under which the film was made. i also present an alternative intersectional analysis of the film placing class and gender conflict as intricately intertwined, rather than as independent or conflicting. i also deliberately distance myself from comparing mannan with its remakes and inspirations, which were obviously made in a different context, studying the film on its own .
aug 29, 2010 – walking into naan mahaan alla, i knew i couldn’t hope for anything as exhilarating as vennila kabaddi kuzhu. for one, the latter was a first film – one forged by years of pent - up creative fires. the second film is almost always a letdown, if only in comparison. but more importantly, this time around, susindran, the director, has a star in karthi – and star vehicles carry their own sets of rules and requirements. the question now becomes not if you can tell a good story, but whether you can hold on to your sensibilities while simultaneously acknowledging the must - haves of the star vehicle. the temptation to sell out is strong because the market, here, recognises only stars. once you get hold of a star, financing becomes easy, distribution becomes easy, attracting other top talents becomes easy – so it’s entirely understandable why a young director, especially one who might have faced humongous hurdles while making his first film, would want to settle into the air - conditioned comfort of a star vehicle .
he starred in the 1988 american film bloodstone, which released with much fanfare in india, but went unnoticed in the united states .
rajinikanth' s movies in the' 90s included thalapathy, mannan, annamalai, uzhaippali, veera, muthu, arunachalam and padayappa. rajinikanth wrote his first screenplay and made a special appearance in the film valli (1993). his film baashha opened in 1995 .
the rich dividends started with rajinikanth' s very first film which was in tamil. he was cast in a supporting role, debuting as an abusive husband in apoorva raagangal in 1975. the film was directed by k balachander, who rajinikanth refers to as his' guru' or' mentor' .
( suseenthiran' s first feature film) starred mostly newcomers, he chose karthi for the lead role in this film as he felt that karthi has an
innocence in his face
that was needed for this role and that he could
convey charm, innocence and being jolly at the same time
.
the second film’s the real test, it appears, and one filmmaker ends up with a disappointing star showcase while another, wisely, chooses to showcase himself .
only three songs were used in the film in their entirety, with
oru maalai neram
being left out completely. the album received favorable reviews, with
sagalakala vallavan is a 1982 released tamil - language indian feature film directed by sp. muthuraman, starring kamal haasan, ambika, raveendran, y. g. mahendran, thengai srinivasan, silk smitha and v. k. ramasamy. the film was a sensational hit and remains as kamal haasan' s cult entertainer of all time .
now that the film is taken over by dhayanidhi alagiri' s cloud nine movies, it will leave no stone unturned to reach the masses in every nook and corner .
and as the tamil cinema universe has little use for the heroine, priya is almost entirely written out from the second half. this is how you can separate involved writing from the indifferent. in sathya, too, the character played by kamal hassan – in a far - more believable transformation to avenging angel – takes leave of his girlfriend (amala) before the end, before he sets out to annihilate his nemeses. and we get to see the part where he takes leave of her. she pleads with him. he has no answers if they’ll end up together. all he knows is that, at that point, he cannot think of her. he can only think about the task at hand. and, though left incomplete, there is a strange sense of completeness in this love track. naan mahaan alla has no time for such niceties. priya’s father instructs that jeeva return in six months to ask for his daughter’s hand, but that thread remains flapping in the wind .
interestingly, after seeing the entire film, he was said to have remixed and completely reworked that song, altering the orchestration inter alia, to match it with the visuals .
recently, rajinikanth and 2. 0 team launched the film' s first look in mumbai and one of the attendees was salman khan. the event host was filmmaker karan johar .
the following year, rajinikanth acted in his first kannada film, katha sangama, directed by puttanna kanagal. though rajinikanth considers director k balachander his mentor, it was director s p muthuraman who actually revamped rajinikanth' s image. muthuraman next cast him in the experimental bhuvana oru kelvikkuri (1977) as a villain in the first half of the film and a protagonist in the second .
furthermore, he praised lead actor karthi' s
power packed
performance, citing that he
nails the character to perfection
and
carries the film to its winning point
. similarly
rajinikanth was next seen as a gangster opposite radhika apte in kabali. in the film he played the role of a benevolent malaysian don hoping to reunite with his family, once he learns they survived a fatal mishap .
vijay: of course expectations play a part, but this film was underwhelming in more ways than one. the love angle, the characterisations (except for the parents and the bad guys) — pretty much everything was meh .
while it' s true that vijayshanti had carved a successful niche for herself in south indian cinema, and was indeed called a ‘lady superstar’, it' s a far cry from being on par with rajnikanth by any means. in fact, the very article that maderya quotes shows vijayshanti’s remuneration as rs; 40 lakh per film, while rajnikanth’s rs; 1 crore. to draw a parallel for present day, reports have it that actress nayantara, who is being called ‘lady superstar’ today, hiked her remuneration to rs. 3 crore for her latest telugu film. rajnikanth, on the other hand, who still remains ‘the superstar’ is said to have earned 35 crores as remuneration for his latest film, kabali .
rajinikanth was next seen in 2014' s kochadaiiyaan directed by his younger daughter soundarya r ashwin. the film, which also featured deepika padukone, jackie shroff and sarath kumar, turned out to be a damp squib leaving distributors in huge losses .
a combination that made 'paiyaa' a success, music director yuvan shankar raja and cinematographer mathi are back together in this film. songwriters are na. muthukumar, yugabharathy and francis while bhaskar sakthi has penned dialogues. rajeevan is in charge of the art department .
also gave a very positive verdict, stating that director suseenthiran comes up with a
rocker of a film
that is
refreshingly fresh, innovative and packaged in a breezy manner within the commercial format
, adding that it is
engrossing and racy
.
only three songs were used in the film in their entirety, with
oru maalai neram
being left out completely. the album received favorable reviews, with
iragai pole
in particular, sung by composer yuvan shankar raja, becoming very popular. [ 21 ] before the soundtrack release, yuvan claimed on twitter that the song was one of his favorites, on which he had worked for days. [ 22 ] interestingly, after seeing the entire film, he was said to have remixed and completely reworked that song, altering the orchestration inter alia, to match it with the visuals. [ 23 ] he garnered accolades for the film' s score as well. as per suseenthiran, the music was
crucial
in the second half of the film, which was the reason for opting for yuvan shankar. [ 12 ] according to karthi, yuvan had worked for 12 days for the score of the second half, which has
hardly any dialogues
, adding that he was the one
who narrates the story in the second half through his music
. [ 23 ]
next came the 2010 blockbuster enthiran opposite aishwarya rai bachchan. the film, made at a whopping cost of rs 200 crore, collected rs 117 crore in the first seven days, even surpassing the first - week collection of bollywood' s highest grosser dabangg (rs 82 crore) in 2010 .
behindwoods gave the movie 2. 5 out of 5 and said
although there are a few slow patches, suseendiran should be appreciated for coalescing the energy and entertainment of a mainstream film with a sensitivity of a realistic one. he has the wholesome attention of the audience in most parts .
in parallel, the' 80s saw the rise of j jayalalithaa in tamilnadu’s electoral politics. she was propaganda secretary of the aiadmk, she was nominated to the rajya sabha, and is even known to have attempted to take over as chief minister in 1984, when mgr - - the chief minister of the time - - was hospitalised following a stroke. even as this effort failed, she contested the 1989 elections claiming to be mgr’s true heir - - by this time mgr had died and the aiadmk was broken into two factions. she became the first woman to be elected the leader of opposition in tamilnadu. soon enough, the dissenting factions of the aiadmk merged and accepted her unanimously as their leader .
while working as a bus conductor, his charisma and style were noted by passengers who suggested he become an actor. a friend helped him out financially and rajinikanth joined the madras film institute in 1974. the kannada - speaking rajinikanth also learnt to speak tamil, a move that was to pay rich dividends .
rajinikanth is currently prepping for 2. 0, which is the sequel to enthiran. rajinijkanth reprises the role of dr vaseegaran who has a new nemesis, dr richard, played by akshay kumar. amy jackson and sudhanshu pandey also feature in the shankar - directed film slated to release on diwali, next year .
as regards to expectations messing up nma’s reach, classic case was singaravelan from the 90s. we couldnt just pull ourselves to appreciate kamal in a typical comedy film back then. then kamal unleashed the comedy movies with vengeance in the 2000s, meeting with better success, still none as whacky and funny as singaravelan in my opinion .
rajinikanth also received tamil nadu state film awards in the best actor category for his roles in muthu (1995), padayappa (1999), chandramukhi (2005), and sivaji (2007). he also received numerous awards from cinema express and filmfans' association for his on - screen performances and off - screen contributions .
rajinikanth made his bollywood debut with andha kanoon (1983) but the film didn' t do well at the box office. despite his bollywood debacle, he was seen in several hindi films including chaalbaaz (1989), uttar dakshin (1987), geraftaar (1985) and the famous hum (1991) opposite amitabh bachchan .
reviewer bhama devi ravi, gave 3. 5 out of 5, claiming the film to be
entertaining almost till the end
, whilst addressing high praise to both suseenthiran, who according to her is
turning out to be a treasure
, and karthi, whose performance she described as his
best work yet
.
recently, kumudhan maderya revived the interest in mannan by offering a retrospective textual analysis, studying the “urtext through the lenses of contextualisation, historicisation and concatenation. ” (
hardline feminism and unfettered capitalism in the action - masala,' mannan'
, popmatters 31 january 2017). in his essay, he dismisses the feminist critique of the film - - its portrayal of the female antagonist, the underlying misogyny and restoration of the status quo - - as “decontextualizing” the film based on “popular cultural memory than through thorough textual analysis”. he offers a “second - order marxist reading” where he places the idiom of “class struggle as the primary animator of narrative tension, and attempts a more balanced feminist interpretation” .
dualist: i’m not comparing the entire film to sathya. just that one part where the hero goes on his quest, and yet the director doesn’t forget to include a farewell scene for the heroine. similarly, had i felt some similiarity between vamsam and thevr magan and so forth, i’d have made a comparison. i didn’t. therefore i didn’t .
hermoine granger: yeah, both the mother and the heroine were beautifully written. and i was quite surprised by how good sunaina was. i remember seeing her in an earlier film and didn’t care for her at all. here, even the lip - sync was perfect. i know this is a minor thing, but that issue gets my goat always 🙂
rajinikanth was 31 when he married latha on february 26, 1981, in tirupati. the couple have two daughters. elder daughter aishwaryaa rajinikanth is married to actor dhanush and made her debut as a director with 3. rajinikanth' s younger daughter soundarya rajinikanth works in the film industry as a director, producer and graphic designer. she also directed kochadaiiyaan which starred her father in the lead role .
while vennila kabadi kuzhu (suseenthiran' s first feature film) starred mostly newcomers, he chose karthi for the lead role in this film as he felt that karthi has an
innocence in his face
that was needed for this role and that he could
convey charm, innocence and being jolly at the same time
. [ 9 ] for the lead female role, kajal aggarwal, who had appeared in tamil films as pazhani, saroja and modhi vilayadu, was roped in. suseenthiran chose her after seeing her performances in the telugu films chandamama and magadheera. he felt that her
cute expressions
were what he needed for that character. [ 9 ] while karthi' s character is a middle - class bank employee, aggarwal would play an employee in a mobile phone company. [ 9 ]
in this scene, krishna clearly has more power over her - - he has the smarts, his wit stands taller and he has the last word. in fact, as she realises that she is losing the exchange, she desperately hangs onto her position as the managing director of a company to restore her power, and fails. long before production and human capital are introduced in the film, gender lays its foundation as the reason for conflict .
by the time mannan released, rajnikanth was already a ‘superstar’, a bankable hero and a force to reckon with in tamil film and political milieu. in fact, j ramki in his book rajni: sapthama? sagaapthama? writes that rajnikanth had ruffled a few feathers in the ruling aiadmk since his mullum malarum (1978), where he sings ‘ raman aandaalum raavanan aadaalum enakkoru kavalai illai [ i don’t care if raman rules the state or raavanan ] ’ .
the heart of the film is about the bonding of a serious father and a romantic son, laced with the criminal backdrops of chennai. karthi plays the role of jeeva, a typical middle - class chennai youngster with a devil - may - care attitude, who is drawn into the world of crime and criminals after a particular incident changes his life. jayaprakash after his superb performances in 'pasanga' and 'naadodigal', plays the role of karthi' s father .
soori, who also played a comedic role in vennila kabadi kuzhu was again included, while jayaprakash, who played several supporting roles and rose to fame with his performance in pasanga was chosen to play karthi' s father. [ 12 ] as in his previous film, suseenthiran introduced several new artists, [ 12 ] such as five boys who played the villains with one of them being vinod who played the younger character of surya in nandha. [ 13 ] according to the director, he found three of them
loitering on a popular road in the city
, whilst cinematographer vijay milton' s assistant ramachandran and cinematographer aruldass debuted and played pivotal roles. [ 14 ]
to susindran’s credit, he does attempt to build a rickety bridge between creativity and commerce – at least for a while. he begins his story with his villains – druggies who kidnap and kill a girl – and he takes us right into the opening credits. years of star - vehicle conditioning have taught us that the time may be right for the hero to be introduced with an evil - trouncing fight sequence, but the hero is revealed, instead, in the midst of innocuous new year celebrations, in the midst of cheer – and that’s who jeeva (karthi) is, a youngster filled with inexhaustible reserves of cheerfulness. and then the heroine priya (kajal agarwal) makes an entry, and there are long stretches of meet - cute banter. and we begin to wonder if susindran is indeed going to make good on this beginning, by making a film with a big hero who’s not allowed to do the things a big hero usually does .
the real disappointment of the film, however, is how cinematic, how unreal, it is – a far cry from the naturalistic developments of vennila kabaddi kuzhu. the love story between priya and jeeva verges on the intolerable. it’s a good idea, in theory, to have long scenes of their burgeoning rapport, but the director pushes the “cuteness” factor so far that you begin to gag. he might take a lesson – or three – on how to stage buoyant love stories from his fellow second - time filmmaker, pandiraj, who, after pasanga, has brought out vamsam. how refreshingly, how naturally, he tells his tale. yes, there are “cinematic” touches like the cow – once the hero’s, now the heroine’s, and used as a go - between – that has been renamed from azhagi devi to asin, but the pacing and the treatment removes all trace of artifice. even the senior love track, between the hero’s parents, is handled beautifully .
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that doesn’t quite happen. the entire first half is a monumental exercise in hero - building, the cinematic equivalent of “ annan banian size 42, ” that line from aboorva sagotharargal that a friend of kamal hassan’s used to extol the star. jeeva, we learn, is so guileless that he plays with children every chance he gets. jeeva is so honest that he tells priya’s father that he intends to marry her, never mind that they are separated by the proverbial railway tracks. jeeva is so charming that a goon hired by priya’s father to make jeeva stay away becomes a pal instead. jeeva is so liked that on the first day of his new job, he’s inundated by calls from well - wishers, and even his parents can’t bring themselves to rebuke this wastrel son who constantly cadges them for cash. jeeva is so kindhearted that when asked to collect owed - money from the impoverished, he buys biscuits for their children instead .
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“you roll your eyes that this is yet another installment of cinemadurai – the seemingly endless series of rural stories where local colour and flavour are flaunted like proud badges of honour. ” – oh come on, this has to be one of the best things that has happened to tamil cinema, not to mention the inevitable illayaraja songs running in the background. didn’t rameshram label this as rettai - jadai verite? let there be a thousand rettai - jadais. at least we will be spared the idiocy of romancing in the alps .
the one thing i am waiting for is this generation; s bhagyaraj. that special sly slightly naughty sense of pure tamil humor, there; s got to be someone out there .
venkatesh: oh, i do like these films very much. the rolling - eyes comment was restricted to those films like aval peyar thamizharasi, which have colour and flavour and nothing else — the films that think that they are “good” and “different” films simply because they are not set in the city. vamsam is genuinely well written, well shot, well narrated, and it doesn’t fall into that category at all .
rangan’s telling point, in contrasting second films of both directors, is that one is a showcase for a star (nma) while other is a director’s work (vamsam). in conclusion, he tilts towards pandiraj. this is an understandable canon. but i’m not sure. i liked portions of vkk if anything. while i wasn’t impressed by pasanga at all. and with rangan ending on this note, “sparkling an achievement as pasanga” (not the first time i differ, recollect his liking for subramaniyapuram !), i’m increasingly skeptical about vamsam. but rangan lays out his views on nma (at one point comparing to ‘sathya’, so by way of example shouldn’t he be comparing “vamsam” to, let’s say, “thevar magan” or “virumandi”. i don’t rate bharathiraja’s films highly) and vamsam succinctly. and where his preferences lies .
i thought that vamsam was plain silambattam (among relatively recent movies) in another bottle! talk about the tale and its telling…. .
i also must comment on the characterization of both the female roles in vamsam - esply the heroine. the drive and the nerve! it would have been totally sufficient to have both women dab frustrated tears on their saree pallus and loiter around in desperation for the men to take the lead, casting the wont - you - do - something - for - me looks. but kudos to the director for his depiction !
br: so vamsam is required viewing then – though must admit i wasn’t overly impressed with pasanga, there were some genuinely good moments in there, the last 30 minutes – deux ex machina anyone, overall it was ok. what impressed me more was the confidence of the director to just go for it .
dualist: “director who made kalavani” – i. e. sargunam. , good choice. i loved kalavani .
venkatesh: you know by now i don’t make recommendations. if you think it’s required viewing, then go ahead 🙂
br: any movie that has the hero washing his clothes with pears soap can; t be that bad. .: -). anything that is non - generic in that way gets my vote .
that and the lack of closure on the kajal front made it less complete for me (although her blip - on - the - screen role made it less devastating). otherwise, this was a movie that i enjoyed watching (except for the last 20 - 30 minutes) mainly because i like karthi’s acting (paiyya notwithstanding). karthi might not be a mega star or get womenfolk to swoon like his brother does, but he knows his acting well. he uses his eyes to great effect throughout this movie. he has played the “regular guy” (as well the deadbeat in earlier stints) with intensity, edginess and mischief .
the triumphalism of bloodlust which has become the tamil movie mantra is a weighty topic in itself, although one is led to infer that hopelessness in institutional justice is rampant (for the little guy) and can drive a man to become the institution or a milquetoast to become a monster and mete out justice with nary a qualm .
talking abt lip - sync, i recall an old interview where anu hassan said that sometimes ppl in the industry consider it auspicious if there isnt lip - sync for a particular dialogue, especially if the dialogue was in an important part of the movie. sort of like a drishti - pottu, i guess !
terribly sorry to nitpick - but rosa centifolia should be written this way and not with a c (caps only for genus name) .
speaking of pacing, what did you think of hot fuzz? or any of edgar wright’s work for that matter, if you ve watched them .
i liked both films……. though i think vamsam had more big hero stuff than nma! except for that over - blown climax fight and that very filmy i - loved - my - dad - yeeee - yeeee - like - this - you - know - yeeee - yeeee song, and that irritating no - closure love interest, it could work mainly becuase of those 4 scary boys (would stay way from them if i see them somewhere! ! !) and how he built - up the momentum before their path crossed with our hero! vamsam was a revelation becuase of sunaina! !! i didnot think before this that she could really act! ! well, i would take these two any day, without even a blink of an eye compared to non - sense - remakes like thillalangadi! !! what are they thinking? comedy padam - a athu? kolranunga - da saamy! !! mudiyala! ! !
br, maybe if you hadn’t viewed nma as suseendran’s sophomore effort but as just a masala vehicle for karthi’s transition to urban roles would your review have been different? just a thought. expectations have a way of skewing opinions sometimes. i remember just because thiruda thiruda happened to be made by mani ratnam and came right after roja, there was some negative press all around. if you just watch the movie regardless of that fact, for what it was, it wasn’t that bad at all .
i saw vamsam and it was what a bhagyaraj version 4. 0 might have done to an age old feudal enmity saga – sans references / pretensions to sex (bhagyaraj version 2. 0 in the 80s would have hapily inserted things to dwell upon botanical ingredients to make the vamsam grow literally). the characterisations have never been so crisp as noted by you – very minimal exercise in establishing some one as good and someone as a bad guy. however some interesting preludes in exposing the villain’s character – a guy gets thrown out of job from villain’s house and what that thread enfolds ending neatly with the thread of heroine, hero and completing a logical end – almost similar to some mahabharatha stories – neatly showing how smart the scriptwriter / director is. the temptation to even insert the “story – screenplay and direction ” credit in a crucial scene would have completely sealed the bhagyaraj stamp on the screenplay. my issues with the movie are with the overall theme of village movies which has some gaping holes in treatment of content and honesty of portrayal – which this movie too continues to err on .
senthil: haven’t watched any of his films, though i’ve heard lots of good things about them — especially scott pilgrim .
apala: yeah, thillalangadi! 🙂 so many crappy tamil films get released these days, it’s tough to keep track. every week, there are some 4 - 5 releases, and with so few screens to play on. i wonder how they think they can make money .
jaiganesh: re “the temptation to even insert the “story – screenplay and direction ” credit in a crucial scene would have completely sealed the bhagyaraj stamp on the screenplay, ” i had a flashback just now of the exact place where bhagyaraj put his story - screenplay - direction credit for mundhanai mudichu. at the instant thavakkalai puts a feeding bottle into his mouth, there’s a freeze - frame and the credit appears 🙂
enough already, write a book. loads of random people are writing books these days, why cant talented ones like you write one. i read through part of picture of films i have no interest in just for your writing. if not fiction, write on indian cinema. write !
after seeing stills of “azhagar samiyin kudhirai”, one can give a “maafi” to susindhran. btw what is sasi, the director of poo upto these days ?
how did you like polladhavan? ? did it work for you? ? did you write anything about it. .
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r. parthiban | director mahendran | s. p. muthuraman | editor mohan | s. balachander anniversary
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spb 50 grand musical tour in toronto - s. p. b. and chitra sing idho idho en pallavi
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viswanath (rajinikanth), a famous lawyer, stays with his widowed mother (vijayakumari) and physically handicapped sister (uma). he sends jegan, a rich magnate' s son (sathyaraj) and lokaiya, ... see full summary »
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an aggressive young man is reformed due to visu, a kind man who eventually leaves him in charge of his business. karthik, visu' s son, is irked by this and seeks revenge by luring the man' s daughter .
bharath, born out of wedlock, seeks revenge for his mother by making his father publicly accept him as a son. his father, now an industrialist, soon finds competition in the form of bharath .
a sincere police officer is killed by a liquor dealer. years later, his twin sons set out to avenge their father' s death .
a con man who is in love with a millionaire' s daughter gets killed by the girl' s father, after reaching yamalogam he came to know that god had made mistaken by killing him for another one, ... see full summary »
a man has to negotiate his brother' s antagonism before he can become a doctor .
two brothers who lead diametrically opposite lives must face off when one becomes a police officer .
an auto driver, manikam, desperately tries to hide his dark underworld side to keep his promise to his father .
a parsimonious barbar must flee from the police after meeting with a look - alike gangster .
an arrogant spoiled brat learns the value of hard work and discipline after spending a year in his father' s friend' s village .
an orphan named surya raised in a slum befriends a good crime boss named devaraj and works for him. their existence is threatened when a new honest district collector arrives .
when a smuggler kills his sister, a naive, immature man (rajinikanth) vows to deliver justice for her death and joins a martial arts school. he trains hard there to become a master fighter, ... see full summary »
viswanath (rajinikanth), a famous lawyer, stays with his widowed mother (vijayakumari) and physically handicapped sister (uma). he sends jegan, a rich magnate' s son (sathyaraj) and lokaiya, two criminals to jail on the charge of rape and murder of an innocent girl. jagan' s father, gmk (m n nambiar) uses his influence and starts creating trouble in viswanath' s life. gmk succeeds in getting viswanath imprisoned on a trumped up charge. his heartbroken mother dies. once out of jail, viswanath sets out to punish the culprits when he temporarily loses his eyesight ...
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viswanath (rajinikanth), a famous lawyer, stays with his widowed mother (vijayakumari) and physically handicapped sister (uma). he sends jagan, a rich magnate' s son (sathyaraj) and lokaiya, two criminals to jail on the charge of rape and murder of an innocent girl. jagan’s father, gmk (m n nambiar) uses his influence and starts creating trouble in viswanath’s life. gmk succeeds in getting viswanath imprisoned on a trumped up charge. his heartbroken mother dies. once out of jail, viswanath sets out to punish the culprits when he temporarily loses his eyesight .
viswanath (rajnikanth), a famous lawyer, stays with his widowed mother (vijayakumari) and physically handicapped sister (uma). he sends jegan, a rich magnate' s son (sathyaraj) and lokaiya, two criminals to jail on the charge of rape and murder of an innocent girl. jagan’s father, gmk (m n nambiar) uses his influence and starts creating trouble in viswanath’s life. gmk succeeds in getting viswanath imprisoned on a trumped up charge. his heartbroken mother dies. once out of jail, viswanath sets out to punish the culprits when he temporarily loses his eyesight .
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not only does mannan inflict pre - meditated physical violence on a female superior at a workplace, it equates that retaliation to ‘manhood’ and brings in the angle of honour, for good measure .
in this decade’s renewed interest in feminist critique of cinematic text, especially in tamil, mannan (1992) has a special place. against the backdrop of persistent violence against women, several writers have used mannan, among other films, to theorise the role of films in shaping public psyche. mannan is especially interesting because of the socio - political climate it was released in, the clash between superstar rajnikanth and a female villain, and the way in which the narrative tension is reconciled .
the extratextual star economy that maderya proposes as reinforcement of his textual analysis warrants closer scrutiny. he proposes that, “in the ensemble cast of mannan, vijayashanti’s reputation as ‘lady superstar’, of course, positions her on par with tamil cinema’s ‘superstar. ’”
moreover, vijayshanti and rajnikanth were ‘superstars’ in different regional cinemas, overlapping sparsely. to place vijayshanti’s stardom predominantly in telugu and rajnikanth’s formidable position in tamil into a bucket called ‘south indian cinema’ and to compare notes would be misguided .
maderya positions the parity of rajnikanth and vijayshanti’s superstardom as one that “ensures that there can be no easy resolution that would too severely damage the dignity of either character, which would upset their fans. ” on the contrary, if anything, vijayshanti’s star economy only makes her a meaner villain for rajnikanth, the violent / cunning / dramatic defeat of whom (albeit inevitable) makes him a bigger star than before .
in an earlier study of the angry young man phenomenon in tamil cinema, maderya writes that, “the first indications that tamil cinema was responding to popular political scepticism began to be registered in terms of the irreverent rajini - persona”. during the' 70s and' 80s, rajnikanth was the quintessential angry young man, even as he swayed between playing the villain and the hero in his career .
later that year, she was physically attacked in the assembly, which she stormed out of, avowing that she wouldn’t return until as chief minister. jayalalithaa was here to stay .
rajnikanth, as kaalai, promptly dismisses this line of thought, and they venture on to finding the right body for kaalai to inhabit. as the god of death and his bookkeeper show him the options one by one, cho standing to his left, unravels the realities of his options and giving him sound advice .
this trend of underlining his political maneuvers continued until the early' 00s. “ katchiyellam ippo namakkedhukku, kaalathin kaiyyil adhu irukku ” [ why do we need a (political) party now; time will tell ] he sings in muthu, while his lover sings “ kaadhal therdhalil kattil sinnathil vetri petru nee vaazgha [ in the election of love, with the symbol of bed, may you win and flourish ] ” in padaiyappa (1999) .
he doesn’t stop there. rajnikanth escalates the conflict between a tamil man and a modern, urban tamil woman. his films feature female antagonists more often and more fervently than other successful heroes of the time. these antagonists tend to be rich (by inheritance), arrogant and dismissive of people of a lower class, rude, and authoritarian to the point of getting dissenters beaten up or murdered. often, rajnikanth not only exposes the tyranny of the antagonist and defeats her, but also takes issue with its incompatibility with her gender and tames her .
maapillai (1989) was among the first of highly successful rajnikanth films where an evil, rich, angry, shrew ruins the lives of commonfolk. over the next decade, he acted in several films in which he defeated and subdued female antagonists. some of them are evil mistresses or second wives - - adhisaya piravi (1990), rajathi raja (1989); some evil mothers - in - law preventing his marriage to the woman he loves - - puthukavidhai (1982), maappillai (1989); and yet others where the woman desires him and he rejects their advances - - mannan (1992), padaiyappa (1999) .
. there are pointed cues which enable the viewers identify the villain neelaampari with jayalalithaa. the most obvious one is the scene of rk going to meet neelaampari in her house. before he comes, she gets all the chairs except one on which she is seated removed, thus forcing rk to stand in her presence (while she is seated). this scene is clearly a cinematized replay of phenomenon frequently observable in public functions and meetings, particularly of the admk, in which jayalalithaa (as the chief minister) would take part .
given rajnikanth’s interest in electoral politics and his gender politics, picking either class or gender as the “primary animator of narrative tension” does injustice to the various ways in which the two intersect.
naan mahaan alla ( english : i 'm not a saint ) is a 1984 indian tamil-language film directed by s. p. muthuraman . it features rajinikanth , radha and m. n. nambiar in the lead roles . 
naan mahaan alla (english: i'm not a saint) is a 1984 indian tamil-language film directed by s. p. muthuraman. it features rajinikanth, radha and m. n. nambiar in the lead roles.
naan mahaan alla (english: i'm not a saint) is a 1984 indian tamil-language film directed by s. p. muthuraman. it features rajinikanth, radha and m. n. nambiar in the lead roles.