kannathil muthamittal
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with the release of mani ratnams latest film kannathil muthamittal, the 14th of february 2002 heralded a new era in indian cinema .
steven spielberg once remarked that anthony hopkins possesses a special acting genius. kannathil muthamittal stands as a testimonial to mani ratnams filmmaking genius. in fact, spielberg could save a fortune simply by understanding how mani makes his kannathil muthamittal look so ultra slick with a modest budget compared to similar hollywood forays .
it was a memorable night for madras talkies when director mani ratnam' s
kannathil muthamittal
swept home six awards at the 22nd cinema express awards ceremony on saturday evening .
i totally understand now as to how you choose your films for scene - by - scene review. kannathil muthamittal obviously is not a right option. sorry for even mentioning it. i should have guessed this .
the songs in kannathil muthamittal actually seem essential and even integral to the plot, slipping in and out obtrusively. the music score by a. r. rahman is superb and is a welcome departure from his repetitious ways .
kannathil muthamittal is an exceptional concept that is marvelously executed. it may have as well been titled roots. it is the story of a nine - year - old girl in quest of her roots and true identity, aligned with the backdrop of the formidable ltte in sri lanka .
in short, kannathil muthamittal is arguably the finest movie ever made in asia. if audiences in the west thought that crouching tiger, hidden dragon was the best film to have come out of the continent, they will be blown away by this groundbreaking movie from indias best known director .
the production values are out of this world and cinematography is breathtaking. this is said of every mani ratnam movie but the camera work in kannathil muthamittal needs to be seen to be believed. the few war scenes that jump out at the audience and take them surprise are shot exquisitely and look incredibly realistic .
the v - day line - up of previews seemed simply irresistible to stay away from. mani ratnam' s 'kannathil muthamittal' scheduled to start at 3 - 30 p. m and the premiere of revathy' s 'mitr - - my friend' at sathyam at 6 - 30 p. m .
despite the final moments, kannathil muthamital is an eminently watchable film. the performances, the music, the cinematography would definitely not leave you disappointed as a whole .
there is nothing in the movie for the masses, teenagers or even college - going students who walk into movie halls expecting an out and out entertainer. kannathil muthamittal is for mature, sophisticated and educated audiences who can understand the various nuances and complexity of the plot. the movie is built to push your emotional buttons without the slightest hint of pathos .
[ hook ] nenjil jil jil jil jil, kaadhil dhil dhil dhil dhil kannathil muthamittaal nee kannathil muthamittaal [ chorus oru dheyivam thandha poovae, kannil thedal yenna thaayae (2) vazhvu thodangum idam needanae (aaah) vazhvu thodangum idam needanae vaanam mudiyumidam needanae kaatrai poala nee vandhayae swasamaga nee nindrayae maarvil oorum uyirae oru dheyivam thandha poovae, kannil thedal yenna thaayae (2) nenjil jil jil jil jil, kaadhil dhil dhil dhil dhil, kannathil muththamittaal nee kannathil muththamittaal (2) yenadhu sondham nee, yenadhu pagaiyum nee kadhal malarum nee, karuvil mullum nee chella mazhaiyum nee, chinna idiyum nee chella mazhaiyum nee, chinna idiyum nee pirandha udalum nee, piriyum uyirum nee pirandha udalum nee, piriyum uyirum nee maranam meenda jananamm nee oru dheyivam thandha poovae, kannil thedal yenna thaayae (2) nenjil jil jil jil jil, kaadhil dhil dhil dhil dhil, kannathil muththamittaal nee kannathil muththamittaal (2) yenadhu selvam nee, yenadhu varumai nee izhaiththa kavidhai nee, ezhuththu pizhaiyum nee iraval velicham nee, iravin kannir nee (2) yenadhu vaanam nee, izhandha siragum nee (2) naan thooki vallatha thuyaram nee oru dheyivam thandha poovae, chiru oodal yenna thaayae (2) vazhvu thodangum idam needanae... vazhvu thodangum idam needanae vaanum mudiyumidam needanae kaatrai poala nee vandayae, swasamaga nee nindrayae maarvil oorum uyirae... oru dheyivam thandha poovae, kannil thedal yenna thaayae (2) nenjil jil jil jil jil, kaadhil dhil dhil dhil dhil, kannathil muththamittaal nee kannathil muththamittaal
kannathil muthamittal is a 2002 tamil comedy, drama film, directed by mani ratnam and produced by mani ratnam, g. srinivasan. this film stars r. madhavan, simran, j. d. chakravarthy, nandita das, p. s. keerthana, prakash raj in the lead role. the films soundtrack and background score were composed by a. r. rahman with lyrics by vairamuthu .
some of the popular locations are bekal fort, kerala, (uyire uyire from bombay), athirappilly falls, kerala, (oru deivam thandha poove from kannathil muthamittal and narumugaiye narumugaiye from iruvar), kalyani theertham, tirunelveli, (azhagaana raakshasiye from mudhalvan), chennakesava temple, karnataka, (sundari kannaal from thalapathi) and the fern hill palace, ooty, which has over dozens of movies to its credit .
1. pallavi anupallavi (kannada) 2. unaroo (malayalam) 3. pagal nilavu (tamil) 4. idaya kovil (tamil) 5. mouna ragam (tamil) 6. nayagan tamil) 7. agni natchathiram (tamil) 8. geethanjali (telugu) 9. anjali (tamil) 10. thalapathi (tamil) take 2 thalapathi (tamil) 11. roja (tamil) 12. thiruda thiruda (tamil) 13. bombay (tamil) 14. iruvar (tamil) take 2 iruvar (tamil) 15. dil se… (hindi) take 2 dil se… (hindi) 16. alaipayuthey (tamil) 17. kannathil muthamittal (tamil) take 2 kannathil muthamittal (tamil) 18. yuva (hindi) 19. aayutha ezhuthu (tamil) 20. guru (hindi) 21. raavanan (tamil) 22. raavan (hindi )
kannathil muthamittal (english: a peck on the cheek) is a 2002 tamil drama film directed and produced by mani ratnam. it features p. s. keerthana, madhavan and simran in the leading roles with nandita das, j. d. chakravarthy, prakash raj and pasupathy portraying other pivotal characters. the film' s score and soundtrack were composed by a. r. rahman, while ravi k. chandran handled the cinematography .
kannathil muthamittal met with acclaim upon release, with ratnam and p. s. keerthana' s performance as the young amudha particularly gaining praise. channel 4 films described the film as
stunning... thought provoking ,
and time out chicago declared ,
ratnam has a ravishing eye .
the chicago reader observed
ratnam' s passionate conviction fortifies the tragic and inspirational aspects of the story
and the chicago tribune wrote
realistic, intelligently written and often quite moving .
between steven spielberg' s 'artificial intelligence' (ai) and mani ratnam' s 'kannathil...' just that there' s nothing 'artificial' about our director' s tale, it is entirely human within the parameters of commercial cinema .
kannathil muthamittal (a peck on the cheek, கன்னத்தில் முத்தமிட்டால்) (2002) is an award - winning tamil feature film directed by mani ratnam. it stars p. s. keerthana, madhavan, simran, nandita das and prakash raj. the film' s score and soundtrack were composed by a. r. rahman. the film' s title is a famous phrase from a poem written by subramanya bharathy, which literally means a peck on the cheek. mani ratnam presents a glimpse of the island of sri lanka at civil war, through the eyes of a child of sri lankan tamil parentage, who desires to meet her biological mother .
vikram isn’t the first man who worked hard at overcoming a setback, but what makes his story slightly different is the magnitude of his dream. he wanted to become a hero; it was that or nothing. he said no to mani ratnam when offered the role of the heroine’s sister’s fiancé in alaipaayuthey. he said no to mani ratnam again when offered the role of nandita das’s husband in kannathil muthamittal. he told himself, instead, “i want people in kerala to recognise me. i want my films to do well in andhra pradesh. i want to be known in the north. ” this was either the world’s most foolish man, or the bravest .
kannathil muthamittal film begins at a small village in sri lanka, where a sri lankan tamil woman shyama (nandita das) gets married to dileepan (j. d. chakravarthy), who along with few other sri lankan tamils in the village (including shyama' s elder brother) is part of the tamil tigers rebel association, which fights for the rights of sri lankan tamils. while romancing each other at a mud river after marriage, the couple hear sounds of sri lankan army troops approaching, thus dileepan flees, leaving behind shyama. what happened to dileepan after that remains a mystery, as shyama realizes that she is pregnant and waits in vain for dileepan to return .
at prasad labs on thursday, if you expected to be witness to the story of a nine year old, you get more than just that. 'kannathil...' is the film - maker' s plea for love and peace in sri lanka, a trilogy of sorts after 'roja' and 'bombay' .
in kannathil muthamittal, it works a little better, because we are in the perspective of a 9 year old little girl (ignoring the prologue section which i will deal with later). and this is how time and space function for a little kid, the big moments are big and memorable, but the little moments all kind of blur together. memory and the past is made up of these huge landmarks floating in a sea of things that don’t matter. and the present is always firm and certain, there is no sense that relationships might change or people might be different. all of that is conveyed through ratnam’s story structure, especially the way he handles the opening sequences .
also, you said that simran yelled at amudha when she is found after running away. but after yelling simran confides in amudha with teary eyes as to how she almost died of fear and concern because amudha ran away. hearing this, amudha immediately hugs simran and apologizes. i thought that was one of the most beautiful scenes in the movie although i would say that there is not a single scene in the movie that is not deep and impactful. i agree with you that the narrative structure mani ratnam uses in his films – especially roja, bombay, kannathil muthamittal and alaipayuthey – is magical. the narrative structure is quite hypnotic and leaves a lasting impression of the story and the characters in most viewers which in itself is enough to deem these films as all - time classics .
kannathil muthamittal tells the story of a child born in a refugee camp for sri lankan tamils in india and subsequently adopted by an engineer / writer who marries the girl next door in order to qualify as an adoptive father. the couple then decide to tell the child about the adoption on her ninth birthday. mani ratnam reportedly based the story on the experience of american parents taking their adopted daughter back to the philippines to meet her mother. the trip from chennai to northern sri lanka is much shorter, but much more dangerous. the combination of an emotional struggle within a family and an attempted reunion literally in the midst of guerilla war is potentially overwhelming. but mani ratnam knows how to handle it, as he had already demonstrated with bombay (1995), set amidst communal violence .
what also adds to the film’s victory is the writing by mani ratnam and sujatha. getting to make a film against the back - drop of the sri - lankan crisis was never going to be an easy task at all. while we can always debate as to how effective was the portrayal of the conflict in sri lanka as shown in the film, we definitely need to admit that there was no glorification of the issue, any overt statement issued or a stand taken per se. in the end in spite of the serious context of violence hovering around, kannathil muthamittal still fundamentally remains a simple story of a girl in search of her parents. that we remain glued to amudha’s journey till the end is in itself a victory for mani sir as most of us might agree by now .
the summer is a chance to watch some of my archive of videotapes and transfer those worth using to dvd. kannathil muthamittal (a peck on the cheek) is one of two films made back in tamil nadu by mani ratnam after his hindi experience with dil se. the other was alai payuthey (2000), one of my favourite films that i have watched several times. although my experience of mani ratnam’s work is limited, i’m reasonably confident in asserting that his films shot in the south are better than those made elsewhere in india. when i watch the tamil films, i really do wonder why anyone bothers to watch the majority of bollywood films. the cliché is that bollywood represents a fantasy india constructed just for the vicarious entertainment of the cinema audience. by contrast, mani ratnam’s tamil films deal with real social issues set in ‘real’ environments. i use the scare quotes to emphasise that ratnam’s world is not a simple reflection of reality (which we all know is impossible on film) but that his construction of reality does draw on the experiences of families living in a recognisable world .
plot of kannathil muthamittal the film begins in a small village in sri lanka called mankulam, where a sri lankan tamil woman shyama (nandita das) gets married to dileepan (j. d. chakravarthy), who along with few other sri lankan tamils in the village (including shyamas elder brother) is part of the tamil tigers rebel association, which fights for the eelam tamil nation. while romancing each other at a mud river after marriage, the couple hear sounds of sri lankan army troops approaching. he asks shyama to leave for her safety while he remains in the forest. what happened to dileepan after that remains a mystery. shyama realizes that she is pregnant and waits in vain for dileepan to return. her villagers begin fleeing to india to seek refuge as the war between ltte and the sri lankan army goes full scale, affecting their village in the process. shyama is initially stubborn to leave since one of the men says that he has seen dileepan with bullet wounds in the forest near the mud lake, but her relatives convince her that she has to seek refuge for the sake of her to - be - born child. the villagers board a boat to the shores of rameswaram, which is a famous refugee hub for sri lankan tamils. while a local collector takes down the names of the refugees, shyamas water breaks and she gives birth to a baby girl. however, as soon as the baby is born, her urge to find her husband and be with her people back home overwhelms her and she leaves behind the newborn girl in hopes that the girl will lead a better life .
the music by a. r. rahman without doubt is top class. however, some songs like vellai pookal and amudha’s intro song sundari gel very well with the film but others like kannathilmuthamital don’t take the story one bit forward. but to compensate the song kannathil muthamital has been shot marvelously. ravi. k. chandran has been given a free hand and he holds nothing back with a number of breathtaking helicopter shots, crane shots etc on the vast empty expanse of a beach. even in this highly stylized song there is one moment which stands out for its innocence which is when the camera attached on the crane comes closer to amudha we see her just about managing to keep her dress from blowing up because of the breeze, a la marylin monroe, and hence she gives animpromptu sweet - shy smile .
nandita’s foray into commercial cinema subha j. rao a week after
aks’’, her first big - banner film, opened to lukewarm response, actress nandita das says its success or failure will not change her life. sitting on a low divan in her sun - bathed home, a casual - looking das says ,
i do not sign a film thinking it will become a hit or a flop .
ightly or wrongly, both tempers and emotions have run very high on the media before, during and after the famous summit. politicians, interviewers, anchors, official spokespersons (some of whom have gone silent or run away after one - liners) have been behaving very abnormally indeed and some quite unlike their public image .
jagjit singh is to ghazal singing what javed akhtar is to writing. when the two titans team up, there is bound to be magic. this album presents that in eight different shades .
a week after
aks’’, her first big - banner film, opened to lukewarm response, actress nandita das says its success or failure will not change her life .
sitting on a low divan in her sun - bathed home, a casual - looking das says ,
i do not sign a film thinking it will become a hit or a flop. that is always a gamble. i enjoyed the making of ‘aks’, it was a whole new experience. ’’
asked if people did not relate to her character supriya, who is married to a much older man and is devoted to her family, das says ,
such relationships exist in society and if it is done in a believable manner, it will be accepted. and despite everything, supriya had a mind of her own. ’’ das told uni in an interview .
but, you see, when the length of a film has to be reduced, sometimes the nuances of characters also get lost. in ‘aks’, a few scenes that would have helped the viewer understand supriya better went under the editing table. but, it is a director’s medium, he has a larger vision and ultimately it is what the director wants, ’’ she adds .
i was a little unsure about the storyline and took over four months to decide if i wanted to do the movie, ’’ says the actress who brought back the dusky look to the silver screen .
one difference that struck me while working in such a big project was the large set up. sometimes one tends to get lost, ’’ she says .
talking about her commercial viability, das admits she cannot pull the regular crowds to the theatre .
but, i am happy doing the kind of movies i do, ’’ she says .
every actor has his or her limitation in terms of physical framework. is she referring to
lagaan
? aamir khan wanted her to do the role, but the director felt her eyes were too intelligent for her to play an innocent village belle .
gracy singh is wonderful in the movie, ’’ das says .
maybe ashutosh exactly knew what kind of heroine he wanted. ’’
when the conversation drifts to her movies with deepa mehta —
fire
and
earth
, das says she enjoyed making both .
she feels
earth
did not do good business because it did not fit into a
preconceived genre of filmmaking’’ .
people did not know if it was an art film because deepa and i were connected with it or a commercial one because of songs and aamir’s presence, ’’the actress adds .
talking about her body of work, das says most of her films are yet to be properly released .
i have done lots of regional cinema, those are not released across the country. so people do not know about them, ’’ she explains .
she has started shooting for mani ratnam’s next tamil flick with chakravarty, madhavan and simran .
mani ratnam has such energy. we work from six in the morning to seven in the evening, and he is so full of spirit, the actors do not feel tired. he is a passionate director, who gives space and inspires his actors to try out new things, ’’ she says .
another tamil film she has signed up for is
azhagi’’ directed by thangar bachan .
ask her why she does women - centric films and das says it is entirely sub - conscious .
concerns, dilemma and personal likes and dislikes can reflect in the choice of films, ’’ she explains .
when quizzed about how it was working with women directors —deeveri with kavita lankesh and the two movies with deepa — das says it is difficult to answer in black or white .
women bond very well, maybe because we go through similar experiences, share certain sensibilities, ’’ she admits .
this does not mean that men cannot make sensitive films about women’s issues
, das says .
i do not mind doing roles with negative shades provided the film is positive and progressive, she says .
like in shyam benegal’s ‘hari bhari’. i did not entirely like the character of afsana, who seems shallow, selfish, too religious... but he told me that i should do different roles and look at them as an actress, not just with personal likes and dislikes. ’’
there are various ways of approaching a character, says das .
i mostly react to a character spontaneously, intuitively. but finally what you see on the screen is a combination of how you perceive the character and what the director wants you to do, ’’ she adds .
one thing she rues about her tight schedule is that she no longer has enough time to conduct long workshops for children .
maybe, i will take some time off next year, she says .
about her role as a
social activist’’, das says she has done too little to be called that .
i do what i can, primarily to retain my sanity, ’’ she adds .
coming back home to delhi is peaceful and my reality check. away from the world of films, i am with my parents (painter jatin das and publisher varsha das) and friends, ’’ das says .
her forthcoming releases in hindi are mahesh manjrekar’s
pitah
with sanjay dutt and
lal salaam
— a film about the naxalite movement. she has started shooting for
supari
, in which she plays an underworld don .
das says she could not accept an offer from dreamworks as she had already allotted dates to mahesh manjrekar and rituparno ghosh .
just my luck. unfortunately, ghosh had to push back his dates for some reason. ’’
i don’t want to do a foreign film only because it is foreign, as sometimes, it can stereotype indian characters. but, i am definitely open to interesting projects from anywhere in the world, ’’ she says .
jagmohan mundra’s
bawandar
, based on the true - life story of bhanwri devi, is due for commercial release and das says she is happy with the way the movie has turned out .
bawandar is a sincere film, ’’ she says .
i was disturbed while shooting for the gangrape sequence, though. not as an artiste, but as a woman, as a person. i wanted to meet the inspiration, not to copy her mannerism, but what was she made of, to have the courage to live through such an experience, ’’ das explains .
when asked if her cameo of a teacher in
rockford
brought back memories of her four - month stint in rishi valley school, das said she just shot four days for the film. ‘’the stint at rishi valley was one of the best periods in my life. the vast expanse, loving students... they made a great combination. you taught because you enjoyed teaching, they learned because they wanted to learn. ’’
she learnt a whole lot of crafts like block printing and pottery there. the latter is still an interest .
does she miss home ?
i do wish i could come home on a sunday instead of living in a hotel room, as all my work takes me out of home and the city i live in. but the short delhi trips compensate for that, ’’ she says .
das also plans to do a play next year .
talks are on. maybe, i will do it next year, ’’ she adds .
ask her about
water’’, that is shelved as of now, and das says tonsuring her head for the movie was a liberating experience .
i have always worn my long hair in a straight, boring fashion. i have never been experimental. i used to keep touching my bald pate to feel the newness of it all, ’’ she adds. uni
r ightly or wrongly, both tempers and emotions have run very high on the media before, during and after the famous summit. politicians, interviewers, anchors, official spokespersons (some of whom have gone silent or run away after one - liners) have been behaving very abnormally indeed and some quite unlike their public image. take for instance, the pakistan high commissioner in india, mr qazi, normally an unflappable, cheerful and courteous gentleman. one could not have believed that he could outshout sushma swaraj, but he did, and both shouted simultaneously so i doubt if either heard what the other was saying. one almost anticipated a up assembly style microphone - throwing match, but fortunately, lapel mikes are difficult to throw. but the viewer not only had a hard time listening but i know some people have been switching off in the past few days whenever a discussion on the summit popped up, which is most of the time .
after all that, one is almost glad to be back with kbc, the syrupy
saas bhi kabhi bahu thi
drooling over each other, india losing cricket matches and the attack on colombo airport by tamil tigers, with all its visual horror. one enjoyed the getaway to the large screen in a crowded cinema house to watch all three hours 45 minutes of
lagaan
.
in the middle of all this bedlam, some people do worry about the weather and they are getting a very tough deal all round. the newer star news weather girls race through their droll at a speed which leaves schummacher far behind, and in mindless sing - song manner which made a young teenager remark .
i bet if you asked them what they had read a minute ago they wouldn’t know
. the princess royal (also known as the rani sahiba) of dd with the flowing tresses, reads the news like a shakespeare sonnet and the rest like an audition before the national school of drama. the zee girls have a hard time with the names of places and the
aaj tak
girls are too worried about what they should wear for which programme (leaning more toward the west via karol bagh) to make us enjoy the weather bulletins on tv, which we do watch when the seductive anuradha srinivasan is around, even if there is a storm coming up. so please, all channels can we get the weather news in the manner barkha dutt would advise :
calm down, calm down
.
soz (hmv): jagjit singh is to ghazal singing what javed akhtar is to writing. when the two titans team up, there is bound to be magic. this album presents that in eight different shades .
one is not sure if it is deliberate or not, but both of them display a common trait. javed here writes poetry with no flourishes; its beauty lies in its deceptive simplicity :
jagjit complements the quality with equally low - key singing. when it is heard the first time, it is rather difficult to appreciate its merit. but the oftener you play them, the more the ghazals grow on you .
in keeping with the mood of the album, the jacket is printed in sepia colours. it gives the lyrics of all songs, along with the meaning of
difficult
urdu words. do words like
aashiqui
really need to be translated ?
ghalib has been rendered by so many ustads that a new delineation is a difficult task. in this album, music director rajesh reddy makes such a bold attempt. talat aziz and roop kumar rathod sing under his baton while the music for mehdi hasan has been rendered by mujahid hussain and for ghulam ali, by rafique hussain and ustad barkat ali khan .
it goes to the credit of talat aziz and roop kumar rathod that they have not let these titans overshadow them totally. the former sings yeh na thi hamari kismat … and yeh hum jo hizr mein… while rathod lends his voice to dil hi to hai…, rone se aur… and har ek baat pe …
equally impressive is a commentary on ghalib written by nida fazli and narrated by brij bhushan .
once certain songs become certified hits, their tunes sink into public memory. just look at the way people latch on to the lyrics of songs the moment a few snatches from them are played on tv programmes .
to cash in on the popularity of such hits, tips have come out with a series of three albums of the instrumental rendering of some big hits .
since the series is called soft instrumentals, the songs have been played on the guitar, keyboard and violin by tabun sutradar at exceptionally slow place. that makes the fast a. r. rahman songs almost unrecognisable, but enhances the charm of those by pankaj udhas. the third album is devoted to the songs of r. d. burman .
among the rahman hits, those from
taal
and
rangeela
dominate. all 12 burman hits are from different films .
in the case of pankaj udhas, as many as 36 tunes have been used, divided into 12 topics such as
falling in love
,
first peg
,
celebration
and
intoxication
.
he story of simran is getting curiouser and, to quote alice, curiouser .
( costarring ajith). and word was out that she was tamil nadu cinema' s new queen bee .
then came the buzz about her romantic liaison with ace choreographer raju sundaram. simran, while acknowledging the relationship, indicated that wedding bells were not imminent - - but the industry buzz was that she was cutting down on her assignments .
seemingly, without tripping over the svelte star. and her assignments seem to be getting more and more high profile with every passing day .
in this film, jeeva, in fact, pulls off a casting coup, getting tn' s two top heroines jyotika and simran back together in one frame .
- - the 100th directorial venture of k balachander, doyen of tamil film directors. this one, incidentally, will see her sharing screen space with, among others, her very own raju sundaram .
the film, incidentally, has madhavan playing the father of two kids. and, again, mani ratnam, with an eye to scoring talking points, has cast malavika, daughter of ace carnatic singer sudha raghunathan and keerthana, daughter of matinee star parthiban and his wife, the erstwhile actress sita, in the two child roles .
it' s simran' s entry into the cast, though, that' s got the industry buzzing .
it' s simran, though, who' s gone and landed the project - - and for a star supposedly cutting down on her engagements, she seems to have acquired a pretty full hand .
v - day went past this year leaving a huge hangover of love, friendship, sentiment and a few bullets and bombshells as well, that spilled all over the city screens. for those who love movies, the treat couldn' t have been any better .
just a day before v - day, a friend suggested we pay final tributes to 'shahjahan', on its way towards the 100 day mark, the lone survivor among the likes of 'aalavandaan' and 'nandaa'. so 'shahjahaan' it was, as we saw vijay unknowingly and unwittingly helping his friend fall in love with the girl he loved (richa pallot) in a tragedy of errors that ends with a smile on the hero' s face. and at 12 - 30 a. m. , v - day fare had just started .
the story of t. amudha (played by p. s. keerthana who along with the director showed up, after the preview) was just an excuse, a ruse to ensure that there was no controversy this time around (for there was talk of possibility that the film might be titled 'kudai' or 'manjal kudai' _ as a metaphor for an umbrella for lankan refugees when the film was under production, with details shrouded in secrecy) .
there are very few in india from whom you can expect such an intelligently and sensitively crafted flick that actually passes off just a story of a girl in search of her real mother (madhavan and simran play her foster parents) .
david (in ai) was 12 years old... his love was real. he was not. t. amudha is nine years old. her love was real. her parents were not. so there starts a little girl amudha' s search for her real mother, just like a little robot david' s search for the 'blue fairy' who would make him a real boy. only, that the local tale is more gripping and has a pace that' s faster than spielberg' s .
so we did miss the beginning of revathy' s 'mitr'. but 'mitr', we found, seemed to strike an instant rapport with the women audiences as it closed to a fun - filled climax .
for a direct contrast, we hopped theatres once again to catch up with the action, 'behind enemy lines' also a tale of love (america loves its soldiers !). just two days ago, we had caught up with another 'one' of those jet li movies, a janta mishmash of 'matrix' or 'terminator', minus the class .
research bioclimatologists with the um synoptic climatology lab counsel cities on how to manage rising temperatures .
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a um - led study is examining how children’s play behavior at beaches could impact their health .
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political polarization, distrust in fact - based knowledge and verbal targeting may be fueling the onslaught .
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three recent um musical theatre graduates star in the world premiere of new play in fort lauderdale .
select classes will feature harkness tables where students will sit campfire - style and engage in conversations and dialogue .
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emi kopke created an oil painting to raise money to help veterans in need and their families .
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there’s more to independence day in miami than you might think. we’re sharing details on the science behind fireworks and places in and around um where you can celebrate !
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faculty from the university of miami school of law and college of arts and sciences weigh in on the future of the nation' s highest court .
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a species of seaweed has been washing up on beaches across the caribbean and south florida .
former nfl player justin king is getting an advanced degree in sport administration through a um online program .
future nurses and doctors learn the value of teamwork and communication in the university of miami' s innovative simulation course .
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it appears that his third run for the presidency will be successful as he distances himself from the political establishment .
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a university of miami lecturer explores the role of the front porch in black communities .
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in the aftermath of hurricane maria, two public health sciences students traveled to puerto rico to document a community’s pressing needs .
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browse the latest issue of miami magazine, the university of miami official alumni magazine .
view the special report from um news that showcases the research and study of the caribbean basin by um faculty and students .
the report features more than 40 articles on science and research and social engagement with polls, graphics and an opportunity to write your own haiku to the environment .
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the songs hold their sway on our hearts. in the early nineties, a. r. rehman came as a bolt from the blue. his music with its modern trends captivated the hearts and minds of the whole lot of youngsters. the youths of the land readily fell for him. and now it is the turn of harris jayaraj to repeat the same trick. in attracting the discerning ears of the youths of the day as a piece of magnet would do with that of iron, harris remains as adept as a. r. rehman. he nearly equals his illustrious mentor in weaving a grand spell of musical magic .
all the six songs lend grandeur to the film. really, they belong to a higher class. if we were to point out our hand and announce the song that takes the first place in the fashion of metro priya of yesterday (!), the song that comes to the fore is
gul mohur malare
. we are simply flabbergasted by the strenuous efforts taken by harris jayaraj to add color to the latest lyrical lines of love poured down from the pen of poet vairamuthu. a. r. rahman is known for augmenting character, flavor and taste to even the tiniest of sounds. following in the footsteps of his legendary guide and guru, harris jayaraj has jerked and flipped the guitar in a masterly manner in the
charanam
of this song to produce torrential showers of music .
among the songs ,
mercury mele
may be ranked as the next - best. the clear - throated voice of devan has rendered the song. our bliss increases and increases as we go on hearing it, since the lover stands alone and sings the feelings of his blossoming love. the new catchy word
athoda
lends a jolly mood of the song .
the song
mutharkanave
starts in the carnatic fashion. in the course of the song, suddenly, harris gives a twist and turn to the trend of the music by bringing in his wonted western music surely; he gives us a surprise gift. the sonorous song ,
padapada pattamboochi
has been rendered in the resonant voice of sadhana sargam. whether any other singer might have sung that song with such an authority is not known .
there are two small songs in addition to these four songs. they can very well be called as haikoo poems. the lady lyricist, thamarai, writes one of the songs ,
hari gori
. the other one is
pinju thendrale
.
all said and done, the songs cannot be termed as unalloyed pleasures. actually, they remain as mixed bags for there are some mistakes too. bombay jayashree' s voice had fascinated all no end in
vaseegara
. but it lacks lustre in
mudarkanave
. there is a trace of weariness in it. harris might have reminded of harini instead of bombay jayashree. the chorus sound
oh
that comes between the first pallavi and charanam is in high pitch. the noise becomes a burden to the ears. harris might have strained a little more in the formulation of the time for
pinju thendrale
.
the songs ,
gul mohur molare
and
padapada pattamboochi
easily remind us of the songs ,
pachchai nirame
and
uppukkaruvadu
respectively. we don' t say that they are copied works. but harris might have easily avoided this trend of adopting from the hit songs .
but to our youngsters would treat even huge mountains as small mustard seeds in the event of being encouraged by their sweet hearts .
kannin kadaipparvai kadhaliyar kattivittal mannil kumararkku maamalaiyum oru kadugaam
! as such, these small drawbacks can be over looked large heartedly, taking into account the tireless work put in by this creator of grand music. his new thoughts are worthy of a welcome reception. his shortcomings, here and there, may be treated as the spots adorned for removing the effects of the evil eyes .
a. r. rehman was introduced as a music director in 1992 with the film ,
roja
and immediately delivered the goods. the waves created by him then have not yet subsided until now. there is no turning back for his, since then. now, nearly after a decade, harris jayaraj has made it big with his very first assignment,' minnale'. it can be said that he too had created a feverish frenzy in the world of music through the songs of' majnu'. he has been maintaining his popularity, image and the quality of art. no doubt, he has done his motivator, a. r. rehman proud .
harris jayaraj is the musician for the future. his name would be uttered fondly by thetamilians living all over the world in the same vein as they held dear the names of ilayaraja and a. r. rehman, the two unassailable maestros of music. the years to follow belong to the budding wizard, harris jayaraj. there can be no denial of it .
there was much ado before the release of' citizen'. but the heavens have not fallen with the release of the film. of course, the film is making progress slowly like a quiet - flowing stream. serenity is there, but certainly no fireworks. the later half of the film is in pell - mell if it is not a perfect pandemonium. one is tempted to question whether all such paraphernalia was necessary even before the release of this film .
they boasted that the film was sure to win several national awards. but it was not to be. the director and ajith, perhaps, were under the misconceived notion that the variety of get - ups was enough to fetch the coveted awards to the film. (for all this, each of these get - ups occupy the scene for just three minutes at a stretch )
nagma was compelled to act in the film with the help of very strong words .
this film would prove to be wonderful turning point for you. you are going to do a powerful role of a c. b. i officer !
but nagma, in the end, was in for disappointment and dismay. some scenes vital to her were cut away. the voice dubbed for her was not up to the needed standard. nagma had to ventilate her grievances openly before the media persons. at the height of her anger, nagma gave a telling punch to the' citizen' people .
they ought to have utilized my character in the climax if at all they were sincere in bagging national awards !
of course, it was not at all an edge - of - the - seat climax !
it must be said that even nagma was done some justice. she came for half an hour shouted hoarse (kaach, mooch) and left away. meena' s plight was poorer. she was not for either accepting a guest role or appearing just in a song sequence. people repeated the same words they already told to nagma. rather they added more colour to their assurance this time .
the story takes a turn just because of you making yourself the all - important turning point. meena, gullible as she is, has accepted the role, which has no pith in it. and the inevitable die has been cast. another chance having no charm has come in her way. she is now slated to dance for a song in vijay' s forthcoming film,' shah jahan' .
when the film was nearing completion, it was announced that all the workmen would be presented with television sets. such a promise was handed out as the producers were damn hopeful of the grandiose success of the film. now that the film has not created any big wave, they have retraced the steps. till date, their promise remains unkept. so, they have incurred the wrath and the curses of the workmen .
our section,' mistaken takes' would bear testimony to the fact that the' citizen' people have disappointed the audiences to the core after creating many fond expectations in their hearts. a peep into the subsection' citizen' would reveal loads and loads of seathing criticisms and glaring mistakes. the people concerned should realize early that those who want to give a surprise gift to the viewers must always hold their cards closer to their chest. they would do well to take a leaf out of the book of director shankar. he never blows his trumpet prior to accomplishing his feats. cinema is all about delivering the goods and not about chattering matters of all sorts. the audio cassettes of prashanth starrers' chocolate',' virumbugiren' and' majnu' are in hot currency among the movie - loving public of tamil nadu. which picture would be released in the wake of' star'? will it be virumbugiren? a big no is the answer.' chocolate' which was launched after' virumbugiren' has overtaken it in the race to hit the silver screen. virumbugiren, which was inaugurated two years ago, is still lagging behind. chocolate enters into the arena of competition with a big bang. its audio cassette announces prizes worth over rupees one thousand. the song,' malai, marudamalai' has become a mega hit. there is no stopping the' chocolate'. anyway, there has to be a calm after the storm. we can expect a breeze to blow in' virumbugiren' following in the footsteps of the tempest,' chocolate' .
vivek is the light - hearted, happy - go lucky man on and off the silver screen. by nature, he is a jolly man. the day in which scenes with vivek are shot naturally turns out to be a day of delight of all the unit members of the concerned film .
director sasi testifies to this fact. he is directing' roja koottam' under pressure with all sorts of tension. he has reason to be so, because he is making a film for a big producer. he is directing a brand new hero. and he has landed on an opportunity in tamil filmdom after a gap of two years. after sending word for srikanth and bhoomika, he becomes too busy with the preparatory works for the shoots along with lens man panneer selvam. no doubt, they earn their bread by the sweat of their labour. and film - making is a nerve - rocking, back - breaking and brain - taxing work.
kannathil muthamittal ( english : a peck on the cheek ) is a 2002 indian tamil-language musical war drama film written , produced and directed by mani ratnam . it features madhavan , p. s. keerthana and simran in the leading roles with nandita das , j. d. chakravarthy , prakash raj and pasupathy portraying other pivotal characters . the film 's score and soundtrack were composed by a. r. rahman , while ravi k. chandran handled the cinematography . mani ratnam presents the story of a child of sri lankan tamil parentage adopted by indian parents , who desires to meet her biological mother in the midst of the sri lankan civil war . the film premiered at the 2002 toronto international film festival , it also received a strong reception when screened at the san francisco international film festival in 2003 . the film received high critical acclaim upon release and went on to win six national film awards , six filmfare awards south , seven tamil nadu state film awards and best film awards at six international film festivals . 
kannathil muthamittal (english: a peck on the cheek) is a 2002 indian tamil-language musical war drama film written, produced and directed by mani ratnam. it features madhavan, p. s. keerthana and simran in the leading roles with nandita das, j. d. chakravarthy, prakash raj and pasupathy portraying other pivotal characters. the film's score and soundtrack were composed by a. r. rahman, while ravi k. chandran handled the cinematography. mani ratnam presents the story of a child of sri lankan tamil parentage adopted by indian parents, who desires to meet her biological mother in the midst of the sri lankan civil war. the film premiered at the 2002 toronto international film festival, it also received a strong reception when screened at the san francisco international film festival in 2003. the film received high critical acclaim upon release and went on to win six national film awards, six filmfare awards south, seven tamil nadu state film awards and best film awards at six international film festivals.
kannathil muthamittal (english: a peck on the cheek) is a 2002 indian tamil-language musical war drama film written, produced and directed by mani ratnam. it features madhavan, p. s. keerthana and simran in the leading roles with nandita das, j. d. chakravarthy, prakash raj and pasupathy portraying other pivotal characters. the film's score and soundtrack were composed by a. r. rahman, while ravi k. chandran handled the cinematography. mani ratnam presents the story of a child of sri lankan tamil parentage adopted by indian parents, who desires to meet her biological mother in the midst of the sri lankan civil war. the film premiered at the 2002 toronto international film festival, it also received a strong reception when screened at the san francisco international film festival in 2003. the film received high critical acclaim upon release and went on to win six national film awards, six filmfare awards south, seven tamil nadu state film awards and best film awards at six international film festivals.