KeezhVanam Sivakkum .. Important Points in the Screenplay..

 

 

LEAD ACTORS : SIVAJI GANESAN, JAI SHANKAR, SHARATH BABU, SARITHA, Y.G.MAHENDRA, , VENEER AADAI MURTHY, MANORAMA, THENGAI SRINIVASAN, MAJOR SUNDAR RAJAN.

STORY : ‘KURIAKOSE’.B.RANGA

SCREENPLAY – DIALOGUES : VISU

LYRICS : KANNADASAN

YEAR OF RELEASE – 1981

MUSIC : M.S.VISWANATHAN.

DIRECTION : MUKTHA SRINIVASAN.

 


 

 

 

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  1. Father in Law Sivaji, the eye doctor makes Murukku for his daughter in law.
  2. Muruku for His Daughter In Law
  3. From the Kitchen, Sivaji leaves for the hospital
  4. Attends a successful Operation. He meets his old teacher, and provides him some consultation. For both these people, Sivaji charges no fees, instead he asks them to light a camphor at a nearby temple, and pray to God and thank him and wish everybody in the world well, since he only can do things beyond the capacity of human beings.
  5. Some Lame humour by VAM and YGM, ( VAM is wearing Kaavi Dress). VAM addresses Sivaji as Athan, while YGM address him as Chitappa.
  6. Sharathbabu comes home // SOME ROMANCE/DRAMA SCENES WITH HIS WIFE SARITHA
  7. Sharathbabu is a sales person, who stays 25 days a month away from home. Sivaji requests him to look after ancestral property, but Sharathbabu wants to stay on his feet. Sivaji appreciates this. Stand on your own feet, but why not in this place itself? Time is up, SB has to leave.
  8. Saritha & Manorama ( the cook) make Sharath Babu an April Fool.
  9. Its April Fools day.. Every body is fooled.. Saritha fools Sivaji..
  10. But.. Sivaji tells his Teacher a truth.. His daughter in law is going to die and is suffering from a diseases, which she herself does not know.. He has not even told his Son.. only the Doctor, the Teacher and Sivaji know it..
  11. Sivaji confides in his Old Teacher - His hidden painful Feelings
  12. Sharath Babu and Saritha want to go for a Night SHow, but Shivaji doesnt allow. He says that it may hurt her health. Manju ( Saritha) protests, breaks a few things and refuses to sleep. When Manorama brings some tea for her. Sivaji adds a few sleeping pills. Manju goes to sleep.
  13. Some more Drama scenes, but Sivaji is worried, everytime his daughter in law skips food.
  14. Jai Shankar enters. Blind and angry. He needs eyes. One, if not two, and if one isn’t possible, atleast one, for a week, he asks. ;?
  15. JaiShankar_Threatens_Sivaji
  16. Jaishankar being desperate for revenge asks the Doctor ‘Eppo, Ennakku Kanna Kuduka poreenga? ‘ To which, Saritha replies, ‘Avar kudukalena ennapa? En kanna pudingi naan tharen. Avar saapdanum, thoonhanum, kaalai le pesikalaame..” [ THIS IS A CLEAR PREMONITION, ABOUT WHAT WILL HAPPEN LATER IN THIS SCREENPLAY.]
  17. SOME BORING COMEDY SCENES
  18. Sivaji emotionally induces JaiShankar to tell his Flashback.
  19. JaiShankar’s sister commits suicide. He is heartbroken. Few days later, he receives a letter, written by his sister. She says she was cheated. She was pregnant. She knows nothing about him, but only a picture taken with him.
  20. Sivaji promises to bring him his eye sight, he also assures Jai Shankar that if he sees the person in this photograph, he will himself bring him to JaiShankar ( Kumaran).
  21. Sivaji picks the picture, and is shocked, He tears the picture in half, in bits and trhows in the dustbin. Without his knowledge, his daughter in law sees this.
  22. Now, a silent game begin

 

  • s between daughter in law & Father In law.
  • Saritha goes to the photo studio to find the original negative, only to know that someone has already purchased it. Saritha is disaapointed of Sivaji for having cheated a blind man. She understands that Sivaji is trying to hide somebody.
  • Manju( Saritha)’s health is deteriorating( which she doesnt know). Dr.Major SundarRajan tells her that she has only 3 months to live.
  • PREMONITION about Death: Another Premonition Scene : Sivaji’s friend Doctor Major Sundar Rajan comes home : And Manju asks him how is the coffee? He says Coffee pota kaikku Nageye podalaam.. Appo, next time Tea poduren.. Appo Next time, Maalaioda Varen..
  • Daughter in Law and Father In Law play cat & Mouse games with each other.
  • The Cat and Mouse Game between Father in Law and Daughter in Law
  • Y.G.Mahendra, Says Bhagyaraj’s Movie Dialogues. Any significance to this movie?
  • The CAT & MOUSE GAME CONTINUES..
  • Manju now looks up Sivaji’s Diary, but some pages are missing..
  • But Sivaji has torn the critical pages in front of her.
  • SONG – SIVAJI CELEBRATES HIS SON AND DAUGHTER IN LAWS ( LAST ) WEDDING ANNIVERSARY GRANDLY.
  • SHARATH BABU LOOKS AT GAYATRI’s PHOTO.
  • FLASHBACK: SHARATH BABU GOES TO A PROSTITUTE’s HOUSE. THERE HE SEES A SERVANT – GAYATRI
  • HE KEEPS GOING BACK AGAIN : AND HE FLIRTS WITH THE SERVANT.
  • THEY FALL IN LOVE
  • The FlashBack
  • THEY TAKE A PHOTO TOGETHER. REALISING SHE IS GETTING COMMITTAL, HE LIES ABOUT HIMSELF AND HIS FAMILY, AND HE WANTS TO DUMP HER, NOW. HE SAYS THAT ON 22ND HIS MOM WOULD COME AND MEET HIS AUNT ( THE WHORE)
  • HE SEDUCES HER AND HAS SEX WITH HER
  • THE SERVANT GIRL HAS NO IDEA THAT SHE WAS WORKING IN A WHORE HOUSE. ON THE 22nd, SHE GOES TO HER WORKPLACE< SHOCKED TO KNOW it IS A WHORE HOUSE>
  • HER MISTRESS IS FOUND MURDERED.
  • HER HUSBAND COMES TO KNOW THE TRUTH AND MURDERED HER.
  • SHE COMMITS SUICIDE.
  • END OF FLASHBACK: SHARATHBABU REGRETS?
  • SHARATH BABU COMES TO ENQUIRE ABOUT THE LADIES CLUB, BUT REALISES IT WAS A PRANK PLAYED BY HIS WIFE ( WHICH IS HOW HE SAW THE PICTURE, AND WAS GIVEN TO ALL THE MEN IN THE HOUSE). NOW, HE GETS SUSPPICIOUS
  • NOW ONLY SHARATH BABU COMES TO KNOW HIS WIFE IS GOING TO DIE, ACCIDENTALLY.
  • ON HEARING THE NEWS, SIVAJI IS TENSED.
  • SHARATH BABU CONFRONTS SIVAJI AND GETS ANGRY.
  • SIVAJI CONFRONTS HIM WITH SHARATH BABU’s TRUTH ABOUT GAYATRI
  • HE REVEALS THAT HE DID THE FACT NOT TO CHEAT JAISHANKAR OR TO HIDE HIS SON, BUT HE DID IT ONLY FOR HIS AILING DAUGHTER IN LAW
  • WITHOUT REALISING THE TRUTH, SHE COMPLAINS TO HER OWN HUSBAND>
  • MANJU GETS A CALL FROM BOMBAY TELLING THAT A PATIENT HAS DIED AND HIS EYES CAN BE TRANSPLANTED.. PLEASE INFORM SIVAJI
  • SHE COMES EXCITED AND TELLS HER HUSBAND.. BUT SHARATH BABU IS NERVOUS.. HE PUTS THE BLAME ON HIS FATHER.. TO HIS WIFE.. AND CHEATS HER..
  • TRUSTING HER HUSBAND>. SARITHA LIES TO THE BOMBAY DOCTOR.. SIVAJI LATER COMES TO KNOW.. HE IS SHOCKED.. BECAUSE THE EYES HAVE BEEN GIVEN TO SOMEONE ELSE..
  • SIVAJI CONFRONTS SARITHA –
  • SARITHA STARTS COUGHING
  • SARITHA ALREADY KNEW IN THE PAST THAT SHE HAS THE DISEASE ; SHE HAS HIDDEN IT
  • SARITHA DIES.. SHE SEEKS FORGIVENESS FROM HER FATHER IN LAW
  • JAI SHANKAR GETS HIS EYE SIGHT BACK
  • The Climax
  • JAI SHANKAR SEES SARITHA AS A PHOTO ; JAI SHANKAR IS USING SARITHA EYES
  • JAI SHANKAR FORGIVES THE PERSON , AS HE KNOWS SARIKA WOULD BE HURT IF SHE SAW THE PICTURE
  •  

 

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‘AADU-PULI’ AATAM

MOVIE TITLE – ‘AADU-PULI’ AATAM

STAR CAST – KAMALHASSAN, RAJINIKANTH, SRIPRIYA, THENGAI SRINIVASAN, MAJOR SUNDARRAJAN

STORY – DIALOGUE: MAHENDRAN

MUSIC: VIJAYA BHASKAR

LYRICS : KANNADASAN, PANCHU ARUNACHALAM, POOVAI SENGUTTUVAN

CINEMATOGRAPHY: BABU.. SICA

PRODUCTION HOUSE: SORNAMBIKA PRODUCTIONS

PRODUCER: M.CHANDRANARAYANAN,

DIRECTION: S.P.MUTHURAMAN


!(this is an image)(https://drive.google.com/a/killthepirate.in/file/d/0B18YwI4sNM5CVGwteVJ0VGpYdW8/view)

Aadu-PuliAatam-Titles

Five different men start their motorcyles and move towards a common destination.

A man who won a Jackpot is offering a treat to his friends, and a woman is dancing caberat.

The Five men disrupt the party -> Some strong dialogues :

    1. Kamalhasan introduces his friends to everyone in the party. after trapping the Rich man – “Thiru Madan, Thiru Rajini, Thiru Balu, Thiru Natraj, Thiru Muthayya. Ellame Unamayana peru dhaan. Police kitta sollalaam. Yerkanave Avangalukku Teriyum.” [ All of them are not Real Life Names. ]
    2. Kamal – “Saar, thappa nenachukatheenga. Naanga thirudangal illa. Alavu mela adigama panam vechurukavanga dhaan thirudanga. Periyavanga Solirukanga. Muzhiya paaru, thirutu Muzhi.”

With Kamal’s permission, Rajini brings the girl back and the Dance continues.

In between, Kamal and Rajini casually play -Aadu-Puli Aatam.

A fight ensues, but the 6 men triumph, and take the money with them.

Kamal gives part of the money to an ailing family, who want him to leave this dirty business, but Kamal says, if I leave this, where will i go? I just can’t leave this.

The affected people complain to the Police Major.SundarRajan, also mentioning how casually even in such a tense scenario, 2 of the members played and entertained themselves playing ‘Aadu-Puli’ Aatam, Major replies that this is a regular trend of this group, and soon they will be caught.

Major has an interaction with his wife. He speaks about a nice person who has become a thief, and he is on the look out for him. He wonders how this happened. His wife replies, maybe ‘sagavasam’ spoilt him. Major replies -‘Kettathu kaprom – senthaana, illa senthathukaprom, kettana? nu yosichitu irukken.”

Kamal (He is called Madan in the film) has a nightmare, in which there is a woman waving her hand, and he screams and wakes up, waking the remaining five people. When questioned, he refuses to tell them the reason, which he knows.

Sripriya and her friend work in a hotel. As a group of men try to misbehave with her, she smashes them up. But someone tears her dress. Kamal comes to her aid.

He seems to be a regular custoemr to this hotel and has told them earlier that he is a Forest Officer.

One of the members of the group falls in love/ Rajini discourages him/Kamal encourages him

Police/Major Sundarajan raid their hideout. The gang escapes in thier bikes. Major observes the Aadu-Puli sign on a table.

Balu gets married.

They celebrate their wedding night in the den. As they celebrate it/( with a tiny cloth seperation)/ the noise disturbs Kamal and his old hallucinations of the woman come back.

After the wedding night, the next day morning, Balu wants to leave the group and lead a normal life. Rajini says he knew this would happen as a premonition. His justification is that if Balu left the group, he would get caught by the police, thereby getting the whole group caught. Kamal says, he also knew this would happen, and its only fair that Balu be allowed to lead a normal married life.

Balu is trapped by the police. His wife rushes back to the den to inform them. Hurriedly, Rajini starts his bike and leaves.

Rajini kidnaps Major Sundarrajan’s son & blackmails him to release Balu.

Without Rajini’s knowledge, Kamal plans to release the boy and bring him back to Major. He also tells Balu’s wife to leave.

Kamal in disguise, drops the Son and wishes to leave, but Major wants him to stay. Major recognizes that this is Madan. Hands Up. Kamal escapes.

Major chases Kamal.After a long chase Major shoots Kamal a few times. A wounder Kamal finally escapes into a church.

A wounded Kamal shockingly meets Mary in the Church

A Nun picks him up. Kamal is shocked, she was the woman who used to come in his hallucinations.

FLASHBACK

The landlady comes to ask for her Rent : She tells Mary ( the Nun/ Already something seems to be going on between kamal & Mary). “Indha Thirutu Payan Police le sera poranam. Naadu Urupaduma?ANOTHER PREMONITION

Daily Mary brings food for Kamal and the exchange happens across Terraces, as Kamal prepares to beocome a police man. Love blossoms.

Kamal gets a call interview from Chennai Police. Mary helpss him financially. As he leaves the station, she waves and runs towards him, as the train leaves. These are the hallucinating images that Kamal used to receive.

The next scene Mary is shocked to see the image of the wanted ‘6’ as criminals, including Kamal in the paper. She is shocked.

Unable to bear the shock of Kamal turning a thief, Mary becomes a Nun. THE FLASHBACK ENDS. KAMAL then tells her his side of the story, of how he became a thief.

KAMAL’s FLASHBACK:

Kamal’s Friend is sick. So, he misses the Interview.

Kamal approaches Major SundarRajan the next day, attempting to explain his situation, but Major dismisses him and says nothing can be done.

His friend is still sick and needs money.

The Employer of Kamal’s friend’s wife is attempting to exploit her situation.

Without a choice, She agrees, but on a condition that she will commit suicide once her husband is saved.

Kamal over hears this. “Rather than you losing your honor to save your husband, it is better for me to become a thief to save my friend.”

He becomes a thief, and a group of thieves provide him support. He joins them. He still continues to help his friend’s ailing family See Point#7.

He tells that he contiued loving Mary, but felt guilty about seeing her.

For the goodwill of Kamal, Mary betrays him to Major.Sundarrajan

She requests that he gets punishment for his crimes and come back as a new person. “If you had true love for me, fulfill my wish.”, she tells him.

Major thanks Mary and wants to reward her, but she requests taht the best reward he can give her, is give Madan a good life, once he is released from prison.

Major introduces Kamal to another old Muslim prisoner ( who is going to be hanged) to prove to Madan, that his friends were not just thieves, but also murderers.

FLASHBACK:

Rajini rapes and murders his Daughter. He tells the father that someone else did it. In his anger, the father kills an innocent man, and a policeman who came between, but Rajini laughs it away. The Old man is sentenced to death by Law. The man feels guilty for having killed innocent people, at the instigation of the person responsible for destroying ihs family ( Rajini).

With her husband & Kamal in Jail, Balu;s wife goes back to Cabre dancing to support herself. The rest of the gang do not support her. #MALARGALE SO GAYA SONG

Rajini’s accompolices dupe Balu’s wife by telling her that Balu has escaped from Jail. They bring her to an old mansion where Rajini attempts to rape her. As she resists, he uses the famous dialogue possibly for the first time in his career -“Idhu Dhaan Rajini Style” [ THE CHARACTER’s NAME IN THE MOVIE IS ALSO RAJINI].

She runs into a temple, picks up the Trishul from the Goddess and stabs herself, as Rajini and 2 of his other accompolices look on.

At this moment, as she dies, her husband Balu arrives on the scene. The 3 accused run away.

The Old man calls Kamal to his cell and wishes him goodbye. He is to be hanged the next day. He feels that he has left behind a blind son, who is dependent on others for left overs. Kamal assures him that he will take responsibility for his son and his future.

The next day, Kamal sees the Old man led to the gallows. It hurts him very much.

The man’s son is brought next day as per Kamal’s wish. As his son talks to him, Kamal mimics the Old Man’s voice. He hands over the boy to Major and tells teh boy to go with Uncle to another Uncle’s name Murali, who would take care of him. [ MURALI IS THE AILING FRIEND WHOM KAMAL TOOK CARE OF EARLIER.]

Kamal releases from Jail & Sripriya, Murali and vasanthi ( his wife) come to see him. Kamal mimics the Old Man’s voice and speaks to the little Boy.

Major offers him the job of a Private Detective, an alternative to the Police Department, which can aid the Police Department.

Kamal tells Mary the happy news and she is happy

But before leaving he tells her that no matter how he moves on in Life, he will always miss Mary.

At his detective agency, receives signals from an anonymous person, depicting the Aadu-Puli Aatam Board.

He goes back to the Old Hangout -> Now, they are enemies.

Rajini&Kamal-BecomeEnemies_FromThisScene_Onwards

Rajini dialogue to Kamal-> “Netraya Snegithan, Naalaya Ethiri, Indraya Thalai Vali.”

Rajini is asked to meet an idealistic person, Thengai Srinivasan. His son was like the Prodigal Son, did a lot of crimes, went to jail, turned a new leaf. One day, he came to his father and apologized and said he would bring his wife. His father was happy. But, his description ( VOICE CENSORED).. and Thengai says that his son is crying in a corner.

He is shocked to see ‘Balu’. Kamal is happy, but Balu cannot respond. He has lost his mind. Thengai tells him that his daughter in law committed suicide at a Kali temple, and that they found his son in this state there. He doesn’t know the reason, and wants Madan ( Kamal ) to help him out.

On Bakrid day, Kamal mimics his voice and speaks with the Boy.

As he reveals the truth to Thengai Srinivasan, this is over heard by the blind Muslim Boy.

Kamal convinces the little Boy.

‘ANADHAI YAARUM ILLAI’ SONG.

Rajini kidnaps SriPriya and calls Kamal asking him to come to a point. Like many places u the movie, he addresses Kamal as “MADAN, MERA DOSTH”.. At the end of the conversation, he again uses the term “Idhu Rajini Style“.

He puts Sripriya in an empty tank and bargains with him to exchange a briefcase past a TOLL GATE, becuase there is heavy Police activity. Since Kamal is now on the side of the Police, he wont have a problem. He says that he will open up the water tank and if he doesn’t return in two hours, She will drown.

Rajini -> Kamal : “MERA DOSTH, NEE IPPO POLICE KEY DOSTH“; “THANIKKULLIYE MEENUKKU MOOCHU T HENIRA VEKKURADHUM, PRIVATE DETECTIVE EY KADATHULUKKU PAYAN PADUTHRADHUM – RAJINI STYLE.

The water is opened and Kamal does not have a choice now.

AT the toll gate, Kamal signals with his eyes to the Inspector. The inspector follows the Car.

A fight ensues, and both Rajini’s accompolices are intercepted by the POlice.

Kamal enters Rajini’s den and fights with Rajini and Natraj, the last of Rajjini’s remaning accompolices. The water continues to submerge around Sripriya.

Rajini and his accomplice escape and Kamal saves Sripriya

Sripriya ( Hema) comes dressed in a Sari and she proposes marriage to Kamal, but Kamal still has the guilt of having betrayed Mary ( Sister Mary), so, he refuses.

Sripriya goes to see Sister Mary.

She convinces Sister Mary, to promise her to make Kamal accept her proposal.

Major investigates one of Kamal and Rajini’s old accompolice, the one who was caught. #69.

They two time, the old accompolice to believe that Rajini was the person who actually betrayed him.

They allow the accomplice ( Muthaya) to escape and follow him.

Muthaya goes to Natraj’s house, and police trace and track him down.

Kamal emerges from the window, breaks into the house, pulls out the gun and surprises Major. He says that he was working for them so long, but was actually in cahoot with his friends. Natraj ( now with his hands tied) is happy.

Major and Kamal get into a fight.

Kamal and Natraj tie down Major ( S.P)

Now, Kamal tells Natraj they have to go and see Rajini. Before leaving Kamal and Major, they share winks.

Natraj trusts Rajini. In the Kali temple, he sees a unresponsive Balu. ( Thengai Srinivasan’s son and former gang member). Natraj now trusting Kamal tells him the truth, that they were responsible for his wife’s suicide.

Natraj enters the devotee’s room and pulls out a briefcase which contains all the loot that they stashed so long, but also Passports to escape.

As they come out, Thengai Srinivasan appears. Seeing him with Natraj, he mistakes Kamal to be a part of the gang as well.

Thengai gives a few punches and knocks Kamal out ( acting), but Thengai turns his attention to Natraj.

Kamal continues to act unconscious as Natraj and Thengai fight it out.

As Natraj empowers Thengai and goes to stab him with the same trishul that his wife killed herself, Balu recovers his sanity. He shouts out ‘Appa’, which immediately gives thengai the energy to throw away Natraj and rush to his son.

Natraj and Kamal escape woth the suitcase.

Both of them entered Rajini’s house. As Natraj tells him about Kamal, but Rajini slaps natraj, telling him that he was a stupid fool.

Incidentally, this is the 18th day ( The Kurukshetram in Mahabharata war took place for 18 days), when Rajini & Kamal became enemies.

As Kamal & Natraj fght, Rajini fires his gun to see sirens knowing his house is surrounded bu Police.

Natraj is captured.

As Rajini & Kamal fight, Kamal punches Rajini, who falls through a tree, before falling down. He falls down hits his eyes across a steel pipe, and turns blind. A blind boy wishes that this man may not lose his eyesight.

As Rajini enquires who this boy is, Kamal tells him, this is Hussain Bhai’s son, and he was actually responsible for turning this boy Blind.

Rajini_Repents_After_He_Turns_Blind

Rajini regrets. Kamal feels that no punishment can be bigger than this for Rajini.

Rajini turns himself up and wants to go to the police. Kamal and Rajini become friends again.

Major presents a shield to Madan for his achievements

He attributes and offers the shield to Sister Mary.

Mary agrees to accept the shield, subject to the condition that he marries Sripriya.

Thengai Srinivasan on the stage says some auspicious blessings to which everyone clap.

The movie ends with a graphical representation of the Aadu-Puli chart, and ‘VANAKKAM’ across it.

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EROSION OF THEIR OWN LEGACIES..

Nothing is permanent in life and that includes success. It is only those that constantly adapt and keep in tune with the Present and with the foresight to look into the Future that will survive. The paying customer will never have a loyalty towards continued mediocrity. A fan will only wait for so long before he says goodbye. In that context, it is important to appreciate the legacy of K.BALACHANDER, not only because he made 100 movies, but he made them, entirely on his own terms, spanning several generations, without bowing down to any commercial pressures ( The Item song or the Vulgar comedy track for instance), and was able to adapt to the needs of changing tastes of audiences, over the years.

After all, Even the legendary 'DADASAHEB PHALKE' the man who brought cinema to India, and was the indisputable king of the Silent Era, lost his mojo, when the Sound Talkies arrived in the 1930s. However, even BALACHANDER was not spared the pain of Failure, at his swan song. For a person, who made several movies, some controversial, some ahead of their times, and introduced to us, several faces that would go on to define and be the ever lasting symbols of Tamil cinema, itself, it is unfortunate that his last movie, 'Poi' – made with UDAYKIRAN AND VIMALARAMAN, produced by PRAKASH RAJ, tanked, at the Box Office.

This is true of several stories that we have seen in the past, and not necessarily, of just the cinema Industry.
Few cricketers have left in their prime. SOURAV GANGULY struggled in his last days. It is debatable, but Even SACHIN TENDULKAR's legacy may have been slightly better ( this in no way belittles either SOURAV or SACHIN's achievements), had he retired immediately after the World cup, 2007, on a Winning Note.
Even technology, is not spared in this front.MOTOROLA was the first to usher in the pager revolution in India ( refer the movie 'PARTHEN RASITHEN' ) , but before the technology even became mainstream, it became Obsolete. Lesser known was the 'Digital Diaries' that MOTOROLA introduced with a then, very good memory capacity of 32KB, which could store a lot of information, including Phone Numbers and Email. But, this too was not to last.
The Cellular Revolution swallowed the PAGER Industry and NOKIA emerged the front runner, in that race. NOKIA was the undisputed leader with several of its competitors who couldn't even scratch it's market share. Infact, there was even a famous bit of advice in those days, that I remember being passed around, when ever a user was planning to purchase a mobile phone. 'Better you buy a Nokia phone, because where ever you go, you will find a compatible charger, even if you forget yours.'
Such was the reach of the Finnish giant. But NOKIA too eventually failed the test of time. NOKIA probably became too obsessed with the sales of its basic feature phone series that it may have taken its Smart Phone Research and Development, abit lethargically.Symbian OS was a relative failure and when the smart phone revolution began, IOS and ANDROID swept the world. ( ironically even before IOS and Android emerged, BLACKBERRY had broken into the enterprise market. It was a status symbol for every corporate. Soon, BLACKBERRY also faded out ). APPLE tore into the high end market, while several smaller partners built devices over ANDROID. SAMSUNG was the greatest beneficiary of the high end ANDROID market, while several hundreds fought for crumbs in the lower end.
NOKIA was never in the picture. And then, NOKIA threw its lot with MICROSOFT WINDOWS. It didn't become much of a success, before it was finally purchased by Microsoft, itself. SAMSUNG for the relative success that it enjoyed in the ANDROID market is now finding it relatively difficult to hold its position because of competitive pricing from phones with High quality hardware in the lower price band. The defining point of this change is the flutter caused by the few second sales of XIAOMI Redmi Series in FLIPKART.
Such is the nature of life. When one is in a market providing any form of service, users will continue to pay only if the experience continues to be good. The same logic has to be applied to the entertainment industry as well.. MANI RATHNAM's 'Mouna Raagam'is a movie that was made way ahead of its time, through its presentation, characterisations , screenplay and broke away from traditional stereotypical scenes, then in Tamil Cinema. (You can see traces of Karthik's mannerisms and antics, in Rathnam's lead character of his first film – Anil Kapoor, in Pallavi AnuPallavi – A Kannada film.)
The movie was a real breadth of fresh air and was a runaway success. Following MOUNA RAAGAM, NAYAGAN, THALAPATHI And ROJA, MANI RATHNAM enjoys a unique status and respect provided to few Tamil cinema directors.he Director's front, MANI RATHNAM either isn't exactly setting the box office on fire, today. There are still fans of his work that continue to appreciate his style of doing things, but surely, there are much better movies being done and which ring better collections, today.
Another Director who has earned immense respect in the industry and brought a fresh look into the NeoRealism world**, through Visual appeal was Mahendran. Mahendran entered the industry with quite a repuatation. Having been a journalist, a dramatist and a script writer, movies like Thanga Padakkam and RishiMoolam, written by him were great hits. Mahendran's UthiriPookal, Mullum Malarum and Nenjathai Killathe will invariably define his career, but a movie, which he personally doesn't rate very high in his graph ( Read from his own memoirs ) – Poothatha Pootukkal, is one of my favorities. Rather than assessing the movie made 30 years ago and society's views at that time, it will have much better appreciation and varied views today, when the world has moved along and our life styles are changed. I will write a seperate post in this. For his legacy, Mahendran's last movie – Sasanam, a project started in 1997, was completed only in 2005, long after its lead Actors Aravind Swamy, Gowthami and Ranjitha had virtually quit the Industry. It was Mahendran's last movie, although, there are rumours abuzz that Mahendran is making a movie for Prakash Raj, with Ilaiyaraja's music.
Let us Take the instance of Cheran, one of Tamil Cinema's most honest movie makers. A movie maker who has made several movies with Scoial themes. When i think of the movies made by Cheran in the 90s, so many come to my rememberance – Bharathi Kannama, Desiya Geetham, Pandavar Bhoomi and Vetri KodiKattu.. All of them are family entertainers with deep social messages. These movies most definitely had a ground impact. Then subsequently, Cheran went on to reach the ultimate pinnacle of his career, a movie that I personally think doesn't justify the reach it got when compared to his earlier works – AUTOGRAPH. For over a year, the 'Ovvoru Pookalume' blared on TV. And then a few years, later, I scratched my head ( I consciously didn't look up WIKIPEDIA), I remembered 'Maya Kannadi', that tanked and THAVAMAI THAVAMIRUNDHU, which did have a decent ground impact. After that, what happened to Cheran?
Yes, he has acted in a few movies, but I can remember none of them. When trying to do some preliminary research on C2H ( a seperate post follows), I came across this movie 'Muran'. Also, there was a movie, in which Cheran plays a Cop, directed by Mysskin, its name, I can't recollect.. But as director, I really cannot recollect anything beyond THAVAMAI THAVAMIRUNDHU.. I don't know the workings on how Movies are released in Theatres today. But, A Month after C2H was eventually launched, I don't see the kind of word of mouth publicity that JK has received, to genuinely believe that Cheran is today, what he once, was. [ A SEPERATE REVIEW OF C2H – AND JK DISK WILL FOLLOW IN THIS BLOG].

Another example of this conversation is K.BHAGYARAJ. Touted as theking of screenplay, BHAGYARAJwas a truly immensely talented movie maker. Not only could he stitch up intensely riveting dramas, but his style of humour was intense. He was one of the few South Indian directors to make a mark in Bollywood as well.He was one of those who would not place his name, at the end of the title credits, but at a really interesting point long into the movie. The scene would be stitched so well, that when the audience would be engrossed in appreciating the moment, that the screen would freeze –kathai, thiraikathai, vasanam, iyakkam – K.BHAGYARAJ, would appear, thereby underlining his importance in the movie. The audience would surely appreciate that.
For instance, in the thriller movie 'Vidiyum varai kaathiru', deepinto the second half,there is a long chase scene of a few minutes, without spoken dialogues, but only elevated to a higher plane byIlaiyaraja's riveting background score.At the end of the scene, the police officer who is sure that the suspect would be missing in the train is shocked to find him sitting there, humming a famous contemporary Hindi song. At this point, Bhagyaraj rolls out the movie's directors credit.
But, today, bhagyaraj's style of movie telling is outdated. Some of his last movies have failed so badly that few even remember their names. The target audience has changed so drastically, that his style of movie making does not simply fit into today's audience's expectations of watching a movie. Several others who enjoyed immense success in the 80s, haven't been able to re-create their magic today. R.SundarRajan, K.Bhagyaraj , Vikraman, BharathiRaja, and Cheran are some names with a strong legacy of the Past , haven't been able to set the Cash registers ringing in their recent ventures.
It remains to be seen if ManiRathnam will find his groove once again, with 'O..Kadhal .. Kanmani', yet again.. The trailer reminds me a lot of 'Alaipayuthey'. But, irrespective of his result, I cannot think of one Director, who left the industry on a positive note, salvaging their hard earned legacy. For me, the last film of a Director should not be whether it was a success at the Box Office or Not, but rather, it should be one, that was relevant contemporarily and add value to the Director's legacy.. And For me, Balu Mahendra seemed to have finished his role well, with Thalaimuraigal.. RIP..

**( Neo Realism Movies had been attempted in the 1960s, By JayaKanthan based on his 2 books – 'Unnai Pol Oruvan' & 'Yaarukaga Azhuthan'. Subsequently 2 More of his books were adapted and made by Director Bheem Singh – 'Sila Nerangalil Sila Manithargal' ( A must watch movie) & 'Oru Nadigai Naadagam Paarkiral'. During the making of the latter movie, Bheem Singh passed away. The movie was completed with the help of his assistants.)
(*) one of bhagyaraj's strengths was that he could embed moments of voyeurism and sex in a humorous package that was acceptable to a family going audience, at a time when most people were much more conservative than today. This is best exemplified by the 'Murungaka' ( drumstick ) and it's association with increasing male libido, that is used frequently in contemporary reality comedy shows in Tamilnadu.

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