So this post began as a response to hidnana’s comment in the Anbanavan Asaradhavan Adangadhavan thread: “even BR was better to treat cinema as visual medium than KB.” (BR as in Bharathiraja.) Then I felt the topic deserved a mini-post (though it really deserves a book).
Yes, while scripting, KB thought like a theatre person — so if you subscribe to the theory that cinema should “show rather than tell,” then yes, you’re going to have issues with his filmmaking. But I’ve always believed that cinema is show and tell — and even in the midst of theatrical dialogues and stagey mise en scène (in the sense that you could sense the proscenium beyond the edges of the frame), KB always used the camera in very interesting ways.
Like I said, this subject deserves a book, but just off the top of my head, here are some images from Arangetram that sprang to mind.
This first one is from a scene where the sex-worker heroine’s orthodox parents discuss her behaviour in the previous scene, where she says she’s become numb to the presence of men. Note the staging. It could have just been the parents talking in the kitchen, but the camera is placed behind the shiny vessels bought for a family wedding with the heroine’s ill-gotten money. (And note the lighting. Long before PC Sreeram used light reflected off brassware in Nayakan and Agni Natchatiram, we see it here.) So it’s no longer just two people talking, but two people talking about the person whose beneficiaries they are. They are, in a sense, surrounded by her presence.
Now, these two images.
The first one: It’s a large family to feed, and note the “arrangement” of the people, the way they are crowded into the frame and the way the lines on either side extend almost till the bottom of the frame.
The second one: This is from when an aunt comes to stay with them. Again, see how depth of field is used to suggest the bigness of the family. The aunt in the foreground, the parents in the middleground, and two young women (cousins) in the background. The choice of a wide shot instead of cuts featuring just the people talking suggests a “cinematic” mind at work, even if the words we hear are pure “drama” (as in theatre).
Finally, this image, from the scene after the one where the heroine is given a new sari because the ones she wears are full of holes. Again, like the first image, the camera uses an “object” (the vessels earlier, the hole in the sari here) to comment on the conversation.
I could go on, but just wanted to quickly put in my two cents that KB was no slouch as a filmmaker. He was a unique combination of someone who came from the theatre, someone who thought a lot like a theatre person, and someone who slowly adapted to cinema. The mise en scène may not be elegant or sophisticated in the way we regard the staging in a Mani Ratnam movie, but KB was definitely up there.
Copyright ©2017 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Filistine
July 5, 2017
“…this subject deserves a book” Amen! Or, to use the modern day equivalent, Word!
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hidnana
July 5, 2017
Thanks BR (of course not Bharathiraja 🙂 ) for this post. Yes I second your opinion that KB is much better than the Tamil film directors of his and previous eras. And many of his trademark touches used innovative camera angles and staging (like mirror placements). But still there were sharp dialogues to emphasize a point he wants to convey. So as you say its a show and tell and not just show as in Maniratnam, Mahendran or Balu Mahenra movie. And coming to BR there were scenes even in a movie like Alaigal oivadhillai or a Vedham Pudhidhu (which had sharp dialogues) that used pauses, silences and visual story telling.
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hidnana
July 5, 2017
I wanted to say
“Yes I second your opinion, but in a sense that KB is much better than the Tamil film directors of his and previous eras with respective to treat cinema as a visual medium”.
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brangan
July 5, 2017
hidnana: Is your name anandhi? 🙂 The nick is your name in reverse?
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hidnana
July 5, 2017
it is Anand in reverse and a Hi to anand 🙂
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Honest Raj (formerly 'V'enkatesh)
July 5, 2017
BR, vedha naan pottadhu. Will comeback later tonight. 🙂
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MANK
July 5, 2017
Agreed Brangan. i was shocked to see the kind of scorn that came KB’s way on the other thread.. I always felt he was someone like Elia Kazan who was from theater and wrote like a theater person, but ultimately evolved in to be a damn good visual filmmaker. i am not saying that Arangetram is good as Streetcar named desire or any such thing, but his films were a major shift from what status quo at that time as Kazan’s gritty social films were in the 50’s hollywood cinema. Also like Kazan who molded an entirely new generation of actors rooted in a more realistic acting style – Brando, Steiger, James Dean, Malden etc, KB did the same for tamil cinema -Kamal, Rajni, Sridevi, Sarita…
And his style was different from someone like Mahendran – who was perhaps the best visual filmmaker of that era . Johnny feels like a film that would have been made today but who wasn’t as prolific as he was – or Bhaatiraja- who was very uneven in that some movies were technically great but others were terrible. he had an almost seamless style in frame compositions or editing the way he uses the montage to show the passage of time – in sindhu bhairavi it was an entire sequence of newspapers and weeklies, in Azhagan it was a song sequence showing television programmes, i think he was as cinematic as you can get in tamil cinema.
Sindhu bhairavi is my most favorite KB film and i can understand why one may have issues with the way he handled the relationship dynamics or characterization in the film ( even though i have no such issues), but it was a great piece of cinema. i have rarely come across such marriage of content and technique, drama and music, actors and characters.
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filmbuff2016
July 5, 2017
Hi Brangan,
First time I am commenting on your blog. Loved the blog but I also want to know what do you think about songs in KB’s movies. I feel KB stages his songs much better than other directors. For example ‘Kelviyin Nayagane’ . Who has the guts to place the entire climax in a song in which Bhairavi conveys her confusion through Kannadasan’s beautiful lyrics.
The song starts with ‘Kelviyin Nayagane inda kelviku badhil enna’ with Bhairavi asking prasaana.
Then after Rajini comes in , ‘Thalaivan thiruchanoor vanduvittan, mangai tharuma tharisanathai thedugiral; alamelu avan mugathai kanbala mangai avanodu thirumalaiku selvala’ stating her confusion to go with her husband or not.
And then when Bhairavi stumbles, Ranjini comes on stage and continuous , and then Bhairavi asks her ‘kanne un kalam sendra kadhai enna’ to which ranjini says ‘unnai kaana kathirunden veru enna’ and then it goes like:
Bhairavi : ‘udal eppadi’
Ranjini : ‘munbu irundarpadi’
Bhairavi :’manam eppadi:
Ranjini :’nee virumbumpadi’
Now her daughter is on her side , so she takes a decision to go with her daughter and asks Kamal to go with his father by saying ‘pazhani malayil Ulla thiru muruga Sivan pallandu engi vittan Peru muruga ‘.
To be Frank, I never thought a director and a lyricist can use a song at this crucial moment in a film to convey what the character goes through. I got interest in films after seeing Mani’s films but never seen a director stage a song like this including Mani . Would love to hear your comments on staging songs by our filmmakers, Mr.Rangan. plz write a small article whenever you get time.
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Balaji Sivaraman
July 5, 2017
Thank you BR for this post! A lot of people share this opinion of KB and I’m glad to see you provide a few examples to counter that argument.
On the topic of KB’s film-making, I recently discovered this brilliant Youtube channel where the creator does brilliant dissections of Tamil films. (I didn’t realize the extent of Suresh Krishna’s capabilities as a film-maker till I saw this one: https://www.youtube.com/watch?v=hlgbAad2eiM)
However, that’s beside the point. Check out these videos (https://www.youtube.com/watch?v=bqB_A38KhzY & https://www.youtube.com/watch?v=JlhRUJflPsI) on Varumaiyin Niram Sivappu from the same channel, and then we can discuss about KB’s film-making qualities, or lack thereof if you want.
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brangan
July 6, 2017
MANK: WRT Bharathiraja, I find his cutting more interesting than his cinematography. His films have some unusual editing. But I can’t recall too many frames. A film like Tik Tik Tik is unwatchable today.
Bharathiraja was trying to be “cool,” KB was being “classical.” The latter approach almost always lasts longer.
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Rohit Sathish Nair
July 6, 2017
Haven’t watched either director’s films yet
Is it that KB’s films don’t move like cinema? For instance, Rajkumar Hirani’s films aren’t really about great images, but they do flow in a certain manner. Is it a similar situation?
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Honest Raj (formerly 'V'enkatesh)
July 6, 2017
BR, I have a feeling that you’ve misread the comment (both correct me if I’m wrong). By ‘visual medium’, I think he not just meant the camerawork but the “film” as a whole. Even if we take his early 70s films, like 100/100 for instance, they are nothing but “photographed stage plays”. One would never get a feel that they’re watching a movie let alone cinema. Of course, there was a huge improvement in his craft during the mid 70s. It’s thanks to his cameraman B. S. Loknath, who was largely responsible in giving a different dimension to his films (even the non-black-and-white ones).
16V was an unconventional film, visually speaking. BR’s earlier films had a different kind of skintone (for the lack of better word). Of course, in pure cinematic terms, the photography in his films were not a patch on BM/Mahendran/Bharathan’s films. Bharathan’s 70s and early 80s films clearly stand out from the rest.
Coming to BR again, my biggest grouse about him is that he single-handedly destroyed the career of Nivas by allowing him to become a director (and later ditching him for Kannan). Not to forget that Nivas – a former assistant of Ashok Kumar – was yet another “National Award winning” import from Kerala.
One last thing about KB. Sure his films had some great music and he knew how to get the best out of his composers, but did he understand music as an art form (much like a Ray/Aravindan)? This was one of the questions that I came across in an article that was highly critical of him. I’m a long way from an expert in this area, so would like to hear a few thoughts.
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shaviswa
July 6, 2017
Was never a fan of KB’s films. To me I find his scenes – especially when there is emotional confrontation between the characters – to be extremely staged. And extremely un-relatable staging. One example – in Parthalae Paravasam – she hands over her “thaali” to Madhavan and is about to drive out of his house when she hears him say “nee kattittu irukkara saree naan vangi kuduthathu.” The way she throws the saree out from the car window…….hated that scene.
Similarly, his tendency to decide on the solution to a problem and then the way he bombards that on to his characters is highly irritating. In Azhagan, the kids and Madhubala literally force Mammootty and Bhanupriya to agree to marry. And not to forget the irritating and annoying expressions from Geetha during that climax scene. Similarly, I found it so annoying when Madhavan literally forces Simran into a wedding with Lawrence Raghavendar. The story just did not flow normally and naturally to me. There are these KB slaps and boxing punches spread all over his film. No subtlety, nothing natural.
He may been a great stage director. And a good film maker too. But his movies suck!
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Karthikeyan
July 6, 2017
One of the comments linked KB with Kazan. It think he was lot more related in his aesthetics of films with Ingmar Bergman. They both shared a love of theatre, man-woman relationship dynamics, women protagonists, close-ups of faces & lots of dialogue. Bergman was also critiqued for his dramatic approach to filmmaking just like KB now. BR, when you write that book, I do hope you explore this relationship in a more professional manner.
It is quite possible for KB to be influenced by Bergman, but I have never seen him acknowledging it at any place. One giveaway that I could spot would be in the film Thillu Mullu: in the scene where Thengai Srinivasan & Madhavi are discussing about the latter’s college marks, she is seen reading a book with Liv Ullmann’s face on its cover.
I do think the appreciation of a filmmaker depends on the parametres we use to evaluate him. If in your hierarchy, exploration of man’s understanding of himself & his society is high, KB is not only one of the best filmmakers, but maybe the very best.
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hari ohm
July 6, 2017
shaviswa – Parthalae Paravasam and Azhagan may be his worst movies … or even post Pudhu Pudhu Arthangal.
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Filistine
July 6, 2017
Was Manmadha Leelai inspired by Truffaut’s “The man who loved women”?
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hidnana
July 6, 2017
@Honest Raj Yes, I meant moving the film more visually than through dialogues. I think KB wrote dialogues for his films. His dialogues were mostly sharp (that too for female leads and antagonists) and try to emphasis on the point he wants to convey. My parents used to appreciate him for that though they may not accept unconventional relationships shown in his stories.
I agree that he has used songs for situations better than many directors and got the best out of Kannadasan and MSV (post Ramamurthy period). I feel 70’s MSV with KB had a lot more variety and experimentation than 60’s VR for Sivaji and MGR movies. Like ‘Junior’, ‘Sippi Irukkudhu’, ‘Kadavul Amaitha medai’ and the highlighted ‘Kelviyin Nayagane’ song. In Ek Duuje Ke liye, he filmed an entire song in an elevator. He seem to have loved Vizag/Goa beaches and shot many memorable songs there.
Along with K Viswanath, he can be credited to make best use of classical music in his films.
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MANK
July 6, 2017
. A film like Tik Tik Tik is unwatchable today.
I don’t believe you at all, not with madhavi in a two piece and radha and swapna for company😉
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MANK
July 6, 2017
Agreed about the classical and cool. I think Bharatiraja style worked much better for sivappu rojakkal, because it was about a psychopath and that fragmented style worked there, also giving it a feel of a snuff film as he was a sexual pervert. But TTT was just a generic musical thriller .
Somehow Mani rathnam always managed to combine cool with the classical, like Martin Scorsese . He has that unique gift
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brangan
July 6, 2017
shawiswa: When people talk about KB, the great phase generally stops with Sindhu Bhairavi. Maybe bits of the films that followed immediately (Punnagai Mannan…)
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Ragenikanth
July 6, 2017
shaviswa , i think you have no idea about KB movies
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Honest Raj (formerly 'V'enkatesh)
July 6, 2017
We, fans of Tik Tik Tik better know its nyaya and dharma.
It’s disheartening to see the hate for Azhagan. It’s probably the only film of his that totally revolves around a man.
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Filistine
July 6, 2017
“When people talk about KB, the great phase generally stops with Sindhu Bhairavi. Maybe bits of the films that followed immediately (Punnagai Mannan…)”
Or maybe the intermission point of Unnal Mudiyum Thambi
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Naveen
July 6, 2017
excellence of an artist needs to be evaluated in the backdrop of their times and society. KB brought social/indoor drama to the streets and to the halls, both through his dramas and movies. that KB’s work has lasted for 30, 40 years and we are still referring back to EdhirNeechal (original ) or Neerkumizhi or Punnagai is a testimony to his craft and the ‘ahead of the times’ reach. yes, society during those times would have behaved in a certain manner where a single look of one’s attire would reveal lot about the background of the person and probably his/her views on a myriad of things at that time. BR was a big dreamer and he quite successfully transfer that euphoria to the society through his movies. TikTikTik is worth watching 100 times for IR’s sake if not for anything. Mani, Bala, Shankar et al will be judged 30 years down the lane as we assess KB and BR past their productive era
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MANK
July 6, 2017
I thought azhagan was fun. I don’t dispute the overall quality of the film compared to other KB movies, but i get a great kick seeing mammootty being chased around by three beautiful women , in a role that suits him to a T. it has the great KB touches here and there, like that scene where Bhanupriya dancing out her emotions in front of Mammootty without music
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sravishanker1401gmailcom
July 6, 2017
Naveen : I loved Tik Tik Tik when I was in the 8th std. But I cant stand it now but agree with you – IR’s background score was awesome – especially the part when the ECG graph is shown (or whatever the hell that machine is).
And ofcourse the ubiquitous chorus
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brangan
July 6, 2017
sravishanker1401gmailcom: We are talking about the filmmaking. If Ilayaraja’s songs and scores are to be factored in, then some 90% of the films from the 1980s will get elevated to the at-least-watchable (if not must-see) level 😉
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sravishanker1401gmailcom
July 6, 2017
Damn it BR ! I was foxed by your cleverly disguised leg cutter…………………
I presume you’re primarily refering to the Kovai Thambi Motherland series.
Incidentally I watched Nizhal Nijamaagiradhu recently on Youtube
Apart from Shobha’s class act I was quite disappointed. It didnt seem as charming as it did when I saw it in my pre-teens and Mouli’s comedy was positively irritating. Its attraction is primarily for the memories of Old Madras sans the IT corridor.
This time I found Sumithra’s portrayal interesting though.
And KB’s lines on “idhu ennoada aachaaram’ were positively irritating.
As I said before – barring Manmadha leelai and Aboorva raagangal the vast majority of his movies are like reading a Sidney Sheldon novel. After you’re through with it you wonder why the hell you spent time on it.
My apologies monsieur and to the other KB bhakts on this forum. Its not business…strictly personal….
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brangan
July 6, 2017
On the other hand, I think it’s the best “taming of the shrew” story made in Tamil cinema. Dubious gender politics — but a heck of an entertainer.
My apologies monsieur and to the other KB non-bhakts on this forum. Its not business…strictly personal….
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sravishanker1401gmailcom
July 6, 2017
One thing common between you and Sanjay Subrahmanyan, ungala paysi jaikkamudiyavay mudiyaadhu … 🙂 😉
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Madan
July 6, 2017
Not fair to compare the maker of Sindhu Bhairavi with Sidney Sheldon. I am not much of a KB fan but he is justifiably a heavyweight of Tamil cinema and as Ilayaraja himself acknowledged during the music launch of Dhoni (which, given everything that happened between KB and IR in the 90s, must have taken a lot), not many, if any, would venture to make a film like that today. Sidney Sheldon was a puriyadha pudhir. OK, his writing style was racy, so that alone probably fueled his incredible success. But by the fifth book or so, I found his plots and characterisation so predictable I swore off him for good. Oddly, the first book of his I read, which I found to have more soul than his novels, was the autobiography Other Side of Me.
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sravishanker1401gmailcom
July 6, 2017
Madan : Agreed. Id rather watch a KB film than read a Sheldon novel. I find KB too pedantic – I like the way BR highlighted and analyzed for us the shot composition in Arangetram but KB s pedantry (is that the correct word ?) appears to have gotten in the way big time and spoilt the broth
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shaviswa
July 6, 2017
@Ragenikanth Thanks – that comment was helpful.
@BR – I gave a couple of examples that came out of the top of my head. I can go back to his 70s movies too and provide similar examples of annoying direction style.
Plus after the initial new wave female protagonist movies, his projection of the heroine character became predictable and at many times laughable.
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sai16vicky
July 7, 2017
@shaviswa: The scene that you were mentioning about Simran removing her saree in PP is actually right out of ‘Poova Thalaiya’, where S. Varalakshmi does a very similar act. She eavesdrops on a conversation between Jaishankar and ‘Gemini’ Ganesan, which the former recognizes and in an effort to teach her a lesson ties her saree to a door. But this scene in PT was much more effective in PP as it revealed how strong-headed a woman the character played by S. Varalakshmi was.
I think people generally think that KB’s finest phase is from 70s to the mid 80s. While I agree with this, I am also very fond of his latter day films that had this scatter-shot brilliance in terms of both picturisation and characterization. Some nuggets (not in any particular order):
1. The ‘Malgova Maami’ character and her husband in ‘Kalki’. (The latter is never shown like ‘Irumal Thaatha’ in Ethir Neechal.)
2. The Seethamma character in ‘Duet’. (‘Seethamma Mayamma’ is my all-time favorite song in Vasantha 🙂 )
3. The brilliant song ‘Marakka Mudiyavillai’ in ‘Jaadhi Malli’, which culminates the journeys of both Mukesh and Khushboo.
4. Madan Bob’s character as a house-owner in ‘Vaaname Ellai’.
I could go on and on but even now when I revisit his movies, it is easy to spot his signature irrespective of the genres he has dabbled with. At least, this quality should not be underestimated.
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shaviswa
July 7, 2017
“t is easy to spot his signature irrespective of the genres he has dabbled”
@sai16vicky Absolutely. His signatures are obviously visible in every movie of his. And his signatures are what I don’t like 😀
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rothrocks
July 7, 2017
@ sravishanker: I’d say verbose rather than pedantic. He has a tendency to expound what he wants to convey in monologues. Hence why people think he was making nadagams on the big screen. To be fair, this is not uniquely his contribution and Tamil films tended to be talky in the 60s and 70s. Many of the contemporaneous Bollywood films were too. It’s probably why we remember the actors more favourably than the directors from that era because this style gave them a lot of width to express themselves.
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sravishanker1401gmailcom
July 7, 2017
shaviswa “: “laughable” – another word I was looking for . Thanks !
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sravishanker1401gmailcom
July 7, 2017
Overall IMHO Mahendran and to some extent Bharatiraja can take the credit for kicking Tamil cinema into the ‘cinema’ age from the shrill, photographed play age.
Ofcourse, KB made more money 🙂
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sravishanker1401gmailcom
July 7, 2017
Rothrocks : Verbose ! Yes – That too. I dont want to sound stubborn but I’ll err on the side of pedantic. Its almost like he wanted to impose his philosophy on the audience.
Things like “emmadhamum sammadhamay” blah blah blah and he had the unthinking, head nodding, middle class tambrahm audience who would swallow all the stuff he spewed out.
You are right. Films were more verbose in that era but I dont think they talked down to the audience -atleast not to that extent.
I have my issues with Bharathiraja too but his vision was far more revolutionary. His raison d’etre for making movies was “Tamizh padangal NAAN paaththa graamangala kaamikkala”
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sai16vicky
July 7, 2017
It is actually quite surprising to me when people say he is not ‘cinematic’ enough. In fact, he was one of the first film directors to understand television as a strong medium, leverage it and provide a strong movie-like grammar to tele-serials. Sorry for the second laundry list:
While I agree that Tamil Cinema really grew up with the arrival of Balu Mahendra, Mahendran and Bharathi Raja, KB was the one who paved the way for it. He has indeed paved the way in three mediums: drama, cinema and tele-serials.
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rothrocks
July 7, 2017
I did in fact want to mention the talking down part and couldn’t find the words; a certain condescension, if I may. It was arguably much more prominent in his second innings in chinnathirai where again he was wildly successful.
I feel Panju Arunachalam is an unsung hero of the 80s or maybe he was content to ideate without shouting from the rooftops about it. Sangeetham said in an interview that Appu Raja started as only a dwarf concept and he and Kamal couldn’t work out quite what to do with it. It wad Panju who came up with the judwa bhai and elder Kamal idea to build a narrative around Appu. And however that it may have been clichéd, it was well executed and gave Kamal ample scope to showcase his talent.
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Rahini David
July 7, 2017
Well, we all do the mistake of reading one too many Sidney Sheldon or Dan Brown or John Grisham novels. For sometime we are thoroughly entertained and as each new one come out it gets more and more predictable and finally we move other to the other side.
KB’s minor characters (or even the protagonists) can be super annoying. And it changes over time. The girl Suhasini saves from suicide and eventually becomes house help is a character whom I couldn’t stand at all and eventually liked. The writer boyfriend came across as interesting when I first saw the movie then I couldn’t understand why she’d even mildly like him.
If you want to include television serials and thereby “Premi” the annoyance CAN give you a headache. Full of characters who were pretentious and full of themselves.
But it came from a single brain (and of course assistants). So patterns and repeated motifs are bound to be there, no?
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Rahini David
July 7, 2017
3 of us talked about chinna thirai at the same time without seeing each other’s comments. Ha.
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Honest Raj (formerly 'V'enkatesh)
July 7, 2017
Is SB a great piece of CINEMA? Lets’ see. It has a scene where Sivakumar – in his usual Sivaji style – jokingly tells Sulakshana, ‘Peru dhan Bhairavi, aana unakku Sangeetham na?’ and the scene would immediately (“poetically” :P) cut to her asking a vegetable vendor, “Kilo (brinjal) enna vela?’ Even a compelling film like Achamillai Achamillai had some serious problems in its making. Saritha has a long-lost brother – a 1947 born who is aptly named ‘Suthanthiram’ by his father – who revisits the family. Ironically, the character is played by an undersized man. Fine until now? In the climax, the character is shown crying at the foot of a Gandhi statue. In addition, we get the “underlying message” through text. Similarly, in Thappu Thalangal there’s a scene where the Rajini and Saritha characters end up having sex. The meticulously shot scene is way more than enough to convey what the scene is all about. But it immediately cuts to a post-card saying, “Andha iravu avargalukku thenaaga inithathu”. These hard-hitting “touches” (“show” and “tell” in the same frequency) were his major drawbacks as a filmmaker. Had he made these kind of stuff during his Ethir Neechal days, it would’ve been pardonable. But the fact that these “touches” remained an integral part of his filmmaking throughout his career leaves very little clue about whether he understood cinema as a different art form than theatre. Haven’t watched enough of Sridhar’s works, but I think he came out of this mould much before KB did. Found these lines in an article which was meant to be a tribute to him:
“வசைபாடுதல், அடுக்குமொழி ஒருபுறமிருக்க அந்த இயக்கத்துக்கு இணை கோடுகளாக இருவரும் செயலாற்றினார்கள். இருவரில் பாலச்சந்தர் அடுக்குமொழியில்லாவிட்டாலும் “ஃபைல், லைஃப்’, “பெண் கர்வமாயிருக்கலாம், கர்ப்பமாக இருக்கக் கூடாது’ போன்ற சொல் விளையாட்டுகளைப் பயன்படுத்தியிருக்கிறார். அதுகூட இல்லாமல் ஸ்ரீதர் பெயர் பதித்தார். ஸ்ரீதர் கதாநாயகியைப் புடவை கட்டியவளாகக் காட்டினால், பாலச்சந்தர் அவள் புடவை கட்டுவதைக் காட்டினார்.”
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GODZ
July 7, 2017
With such powerful and beautiful imageries in Punnagai Mannan(Who can forget the opening Scene), KB sir is not only capable but he could have done far better than anyone if he intended too(Another movie “Varumaiyin Niram Sivapu”). Any Film director whether its KB sir or BR or James Cameron, All they do is communicate with their audience and every director is his mode of communication to tell a story ,the story that he is trying to convey to his audiences. Its a fallacy that cinema is visual medium and everything can be shown visually. It depends on the numerous factor but most importantly the theme of movies. Balachander movies are mostly on Interpersonal Relationship and Extreme social themes( Prostitution : Thappu thalangal). His fundamental approach of story telling is allow the characters to express themselves as much as possible, their Point of view and move the story based on their actions and giving justification for that action through the characters themselves. You can take any movie and you can observe this pattern “the Why’s” of a characters action and its motivation”. Now coming back to the fundamental question..Does that approach make a movie less of a movie and more of a Drama? Does it make his work less artistic? Absolutely Not. The audience of 70’s and 80’s are not as matured as todays audience. Else “Pesum padam” would have been a blockbuster in Tamil Nadu. Its not. The audience of 70’s and 80’s dont have the patience to comprehend and use their brains. honestly. Maniratnam and BR smartly overcome this by using scintillating Score from Ilayaraja. The Scale of their movies gave that extra scope of telling their story more visually. If you observe, Some of Ilayarajas best BG music were for Maniratnam and BR. You can Argue that BR did Nizhalgal using more visual style but that movie was a commericial failure and I can go on and on.
Bottom Line, No other director used cinema as a visual medium to express the emotions of a character than KB sir. For KB sir, the mode of visual story telling are characters eyes, Face expression and their thought process expressed in a conversational style. He is the Master
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brangan
July 7, 2017
Honest Raj (formerly ‘V’enkatesh): leaves very little clue about whether he understood cinema as a different art form than theatre.
So clearly you’ve proved Madan’s contention that one can write any number of blog posts but cannot make people read it or consider it. 🙂
I get the feeling we are throwing the baby out with the bathwater here.
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Rahini David
July 7, 2017
ஸ்ரீதர் கதாநாயகியைப் புடவை கட்டியவளாகக் காட்டினால், பாலச்சந்தர் அவள் புடவை கட்டுவதைக் காட்டினார்.
Is this just statement of facts or are we supposed to take away something profound there?
I am of the “Kilo enna vilai” breed. I need footnotes.
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hidnana
July 7, 2017
KB serials seem to be re-telecast on weekends in some channel (not registered it). My mother was watching it regularly. I watched nonchalantly at times..
Marma desam series was still intriguing. Kaiyalalvu manasu was good, but Premi, and one more with some comedy (Kasalavu nesam ?) didn’t work for me now. Kadha pagadai was fine when it was first telecast but may not now. Renuka’s character seem to be always talking the same way in all the serials sounding repetitive. And mostly same set of artists in every serial also doesn’t provide the variety. But his teleserials are any daybetter than the mega serials of Sun TV..
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rothrocks
July 7, 2017
GODZ: Punnagai Mannan is an interesting one. It’s a beautifully shot film but the story left me rather dissatisfied. And I do question how well it would have worked without IR’s soundtrack and BGM but that goes for most of the films in that decade and if they adapted their film making to let his music convey what they wanted to, there’s nothing wrong with that. Anyhow, I don’t think every film must necessarily be rich in visual detail. In the end, the magic words are “Did I entertain you?” However a film gets there will do.
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Rm
July 7, 2017
Staging of scenes involving emotional confrontation between characters – the staging of these scenes may reek of high melodrama, but there are very few filmmakers who does it better than KB. Two instances that stand out:
Puthu puthu arthangal: I do not remember it accurately, but the situation goes like this. The character played by Geetha makes a public announcement that her husband singer will not sing anymore. After this, we cut to the scene where an angry Rahman storms into Geetha’s house (at this point in the film, they have started living seperately) attired just in his lungi and vest. Another director of that time, probably would have included a scene where Rahman could have been reading the newspaper taking his morning coffee in his home, and seeing the news, flings away the coffee cup and storms away. KB here eliminates the need to show Rahman’s intense rage explicitly, just with the staging of this scene.
Unnal mudiyum thambi: An argument between father (Gemini Ganesan) and son (Kamal Haasan) breaks out to a verbal fight and escalates to a point where the father grabs his son by his shirt collar. The other characters in the house upto this point are mute witnesses.
As soon as we see the father about to physically assault his son, grabbing his collars, we start hearing nadaswaram music, beginning on a high octave. The elder son of Gemini, who has a speech disability but a nadaswaram artist, starts playing the nadaswaram (if I am right, a brilliant Kharaharapriya rendition). The music pacifies the situation, the collars are let off, the stand-off softens. The father-younger son duo take turns to partner up with the nadaswaram rendition. The father, is even shown appreciative when his younger son, whose collars he grabbed just minutes back, sings a particular swara piece for the nadaswaram to follow. The scene eventually ends up with the trio sitting together and completing the rendition/singing. The speech disabled elder son, having an obligatory responsibility to diffuse tension between his father and younger brother, takes up music to bring upon truce successfully. You have to watch the film and this scene in particular to appreciate the brilliance with which this scene is staged.
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Madan
July 7, 2017
Marma Desam, esp Vidathu Karuppu, was great by Tamil serial standards. That and Ragasiyam were the only Tamil serials I liked. But they were not directed by him and more importantly did not have the Balachander flavour as strongly as Jannal/Kaialavu Manasu/Premi as well as, of course, Sahana. The subject matter in those serials was much more in the KB mould.
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Honest Raj (formerly 'V'enkatesh)
July 7, 2017
Unless I’m missing something, what makes you think I did not even care to read the post?
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brangan
July 8, 2017
rothrocks: In the end, the magic words are “Did I entertain you?”
For me, the magic words are “Did the film engage me?” I don’t expect every film to entertain me or make me… feel. A lot of films I love are those that make me think, infuriated, puzzled, make me wrestle with them…
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brangan
July 8, 2017
Honest Raj (formerly ‘V’enkatesh): I am saying “cinematic” is a very loose term, and it varies according to the filmmaker. So someone could say Bergman is not cinema because a film like Winter Light just close-ups of people talking (generalising a bit) — especially compared to a Kurosawa, where even a dialogue scene will be “staged” cinematically. So like I said in the post, KB’s is a “theatrical” mise en scene, and it cannot be compared to someone like Mani Ratnam, whose roots are cinema, not theatre.
IMO, both are valid, both are cinema.
And I’m happy people like Mysskin are taking forward this tradition of a “theatrical” mise en scene.
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rothrocks
July 8, 2017
@ BRangan: Agreed. I was using “entertain” in a very general sense. What entertains me could be very different from somebody else’s tastes. The scriptwriter of Network, Paddy something (forgot his name), said they ultimately want to entertain. But Network is not EVERYONE’S idea of entertainment.
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brangan
July 8, 2017
GODZ: With such powerful and beautiful imageries in Punnagai Mannan(Who can forget the opening Scene)
Can you explain what you are referring to (the suicide scene?), and what exactly is such powerful imagery here?
filmbuff2016: I feel KB stages his songs much better than other directors…
So from your comment, I get that you appreciate Kelviyin nayagane as a CONCEPT, i.e. the way it is used to bring about a culmination to the story. If I read your comment right, you are appreciating “KB the screenwriter” and not “KB the director”.
We should be precise when we use words like imagery and staging.
“Staging” means the way something on paper is transferred to screen. The CONCEPT of Kelviyin nayagane was already on paper.
Or are you saying you appreciate the staging of the song, the cuts, the angle, the cinematography etc.?
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sravishanker1401gmailcom
July 8, 2017
(Anjelica Huston in her teens at the dining table) : “I dont like Picasso ”
(John Huston at the head of the table) : “Oh is that so ??!! Go to your room and list down three SPECIFIC reasons WHY you dont like Picasso and dont come back to the table till you’ve listed them down”
(from an interview with Anjelica Huston)
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brangan
July 8, 2017
Rahini: Reg. பாலச்சந்தர் அவள் புடவை கட்டுவதைக் காட்டினார்…
I think he/she is referring to the scene in Aval Oru Thodarkadhai where Sujatha is in the process of wearing a sari. Plus, of course, shots in Manmadha Leelai, Arangetram of bras, open blouses etc.
I think the point being made — at least from what I can make out from the excerpt — is that unlike Sridhar, KB “exposed” his women.
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Honest Raj (formerly 'V'enkatesh)
July 8, 2017
BR: I do not disagree but the point is did he “understand” all this? Even if he’d inadvertently followed (as in how BR used to think like Godard while cutting his films without even knowing who the guy was 🙂 ) that methodology was he “faithful” (might be a strong word though) to it? Not trying to pull him down, but I’m curious because he neither assisted anybody nor had a formal training in filmmaking before venturing into cinema.
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Honest Raj (formerly 'V'enkatesh)
July 8, 2017
Can you explain what you are referring to (the suicide scene?), and what exactly is such powerful imagery here?
Ha, this reminds me of a long forgotten episode where in BM had lashed out at a few Tamil magazine reviewers for equating “good cinematography” with “Kannuku kulirchiyana kaatchigal”. Meanwhile, a few others who defended the reviewers said, “what more is he expecting from them?”
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brangan
July 8, 2017
Honest Raj (formerly ‘V’enkatesh): did he “understand” all this?
This goes back to the question of directorial intent, which I have always found useless while discussing a film. (In the sense that only the director really knows why he did something, whether he meant this or that. We can only make our inferences from what’s on screen.)
But consider these scenes from Aboorva Raagangal, which I was reminded of in an email interaction today:
(1) Srividya has asked Kamal not to leave her house, and ties him to the railing with a thin thread. She comes back from the katcheri and the house is empty. And then she hears the miruthangam, she sees the thread still tied to the railing and it is taut, the camera follows the thin tight thread and pans along as the thread vibrates till it reaches Kamal playing the mirudhangam with the thread still on his wrist. Pure cinema.
(2)Same film, same issue, He tries to sneak out of the house and as he comes out with his shadow leading him, a bigger shadow of Srividya from the first floor balcony looms over his shadow. He stops..turns and walks back into the house. No words. Scene over.
This tells me there was definitely a cinematic mind at work.
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sai16vicky
July 8, 2017
@BR: “(2)Same film, same issue, He tries to sneak out of the house and as he comes out with his shadow leading him, a bigger shadow of Srividya from the first floor balcony looms over his shadow. He stops..turns and walks back into the house. No words. Scene over.”
There is an anecdote about this scene which Kamal shared in a wonderful series called ‘Kamal Haasyam’. KB apparently called for a break in Kamal’s shoot that day since he was very tired. As he was leaving the house where the shooting was going on, KB suddenly asked him to stop while he was outside. He stood there for a minute and later, KB let him go. Kamal naturally was clueless at that point and later realized that KB actually saw where his shadow was falling. I would conclude that he really had this shadow scene in mind intentionally 🙂 .
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GODZ
July 8, 2017
@BR. Yes, I was referring to the suicide Scene. The whole setting of Scene right from the moment Kamal and Rekha stand at the edge of the waterfall to the moment Kamal caught on the branch of a tree, trying to Release himself but only to remain alive watching his dying lover.The climatic Scene where the exploded and burning car drops off from the cliff this time dropping precisely to the bottom without getting caught in the branches. I think this is one movie where Waterfall is the integral character acting as a silent spectator for all the happenings.
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shaviswa
July 8, 2017
There is a reason why I avoid using technical terms like staging, etc. Don’t want to be caught with my pants down. When I read BR’s comments, it is clear that my understanding of staging and his are very different. And him being the expert, I would go with the definition he has provided here 😀
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brangan
July 8, 2017
shaviswa: There can be no other definition of staging but what I said — because that’s the dictionary definition. It’s not a technical term. It’s just English 🙂
http://www.dictionary.com/browse/staging
the act, process, or manner of presenting a play on the stage.
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Honest Raj (formerly 'V'enkatesh)
July 8, 2017
BR: “In the sense that only the director really knows why he did something, whether he meant this or that. We can only make our inferences from what’s on screen.”
Okay, fair enough. 🙂
Sai16vicky: According to KB, it was not Kamal but a “light boy”. Or, perhaps Kamal was assisting the DOP as well? 🙂
http://iffi.nic.in/Dff2011/Frm58NFAAward.aspx (pp. 23-24)
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Filistine
July 10, 2017
There is a scene in Moondru Mudichu which I remembered. Sri Devi has just found out that Rajinikanth has seduced the naive mallu girl. She storms over to his apartment to berate him about it. The scene is just shown as a series of stills. Almost as if KB was saying – you know they are having an argument, you pretty much know what they are going to be saying to each other. So I won’t bother with the details.
Would this fall under “staging”?
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Prasanna
July 13, 2017
If the equivalents to “overacting” are “over- writing”? (or “overt”-writing?) and “over-directing”, KB did display tendencies to stray into those territories. From the examples mentioned above, he did explicitly over-emphasize…write in red, italicize, under-line and highlight-with their share of hits and misses given the context and tone of the movie.
A thought comes on his protege Kamal, who seems to have picked this trait in his writer-director avatar, while interestingly seems to be more balanced as an actor.
Your thought on what explains the dichotomy?
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Madan
July 13, 2017
@ Prasanna: I think that is a Tamil trait as such. Yeppaiyum adichu adichu pesannum. Not saying everybody does that but it’s again a quality that’s not exclusive to his films as far as Tamil cinema goes. I think there is some inbuilt azhutham-dirtham in the Tamil entertainment paradigm. I remember one discussion where the participants opined that ghazals are not appropriate for picturisation in films. I was flabbergasted, needless to say. The context was that IR strove to infuse some electricity in the interludes even in sad songs otherwise he would lose the audience. As evidenced by Huzoor Is Kadar, even up to the mid 80s (parallel to IR’s time), this was not a requirement in Hindi cinema. Wait, there’s Hoshwalon in Sarfarosh, 2000!
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sravishanker1401gmailcom
November 28, 2017
Crossed a long pending item on my TO DO LIST. Wanted to watch Apoorva Ragangal on a pleasant, rainy day and I finally did.
It was even better watching it with BR’s ‘Instructions for Use’ – like the shot where Srividya’s shadow falls on Kamal when he first moves out of her house in search of his attackers.
And the ubiquitous Show and Tell – the voice over along with the cue cards – Sarali Varisai, Mohanam, et al.
Kamal’s raw and unpolished emotion was a nice foil to Srividya’s control but really it’s Srividya who owns the movie.
The fact that she was as old as Kamal but suggested a much older woman by sheer acting is a tour de force. And her ability to make banal dialogues look ethereal.
I was in a daze for days.
The chemistry between the stars helped immensely.
Kamal has this to say about the movie :
“The protagonists fell in love ….and so did the actors playing the protagonists”
Added bonus is that the naxalism in Mouna Ragam is a mirror of the one in Apoorva Ragangal
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