Read the full article on Film Companion, here: https://www.filmcompanion.in/keerthy-suresh-dulquer-salmaan-mahanati-baradwaj-rangan-southern-lights-column/
Thoughts about and around biopics and ‘Mahanati’, starring Keerthy Suresh and Dulquer Salmaan.
As a Tamilian – or at least, as someone more familiar with Savitri’s work in Tamil cinema – Nag Ashwin’s Mahanati (Great Actress) felt incomplete. (There is a Tamil version titled Nadigaiyar Thilagam, but I saw the film in Telugu.) From the actress’s films that were made in Tamil too, Mahanati shows bits of films like Missiamma and Paasamalar (though with a heavy dubbed-from-Telugu feel) and a poster of the ill-fated Praptham, and there’s a very brief stretch – around the time there was the demand for a separate Telugu state –that shows Savitri, who was born into a Telugu-speaking family, struggling with Tamil lines. But given that so many Telugu stars are referenced, there’s no Sivaji Ganesan on screen – and he was, in Tamil cinema, her male equivalent, Nadigar Thilagam. The two appeared in many memorable films like Ratha Thilagam and a series of Bhimsingh’s so-called ‘Pa’ films, whose names began with that letter. And then there were the mythological multi-starrers (Thiruvilaiyaadal, Thiruvarutchelvar, Saraswathi Sabadham). There’s no mention of MGR either, with whom Savitri starred in Vettaikaaran. And what about Savitri as the young Kamalahasan’s mother in Kalathur Kannamma?
At least career-wise, then, Mahanati is only half a biopic – and I admit the problem is less the movie’s than mine. With public figures, we form our associations through the work they do, and when almost all this work (that I know well) is missing, the figure on screen begins to feel like a stranger. You want to know what it was like for Savitri to come face-to-face with Sivaji Ganesan and MGR. Was there apprehension from her side? From their side? What was it like – in the shockingly-emaciated-character-artist phase of her career – to play an older woman with greyish morals, who nudges the heroine into a career as a cabaret dancer, in Vattathukkul Sathuram? It’s important to show the professional side along with the personal milestones – but it’s the director’s prerogative, and if he’s chosen to focus on the Telugu actress Savitri rather than the Tamil-Telugu actress Savitri, you have to go with it.
There are many ways to make a biopic, and Nag Ashwin chooses a rather charming framing device set in the 1980s, with Savitri’s story being researched by journalist Madhuravani (Samantha Akkineni) and photographer Vijay Anthony (Vijay Deverakonda; his Arjun Reddy co-star, Shalini Pandey, also has a role in this film). The culmination of this track, in a church, greatly warmed my rom-com-loving heart, and the actors are fun to watch. But there’s more. Even as this track provides much-needed relief from the heaviness of Savitri’s story, it keeps harking back to the actress. Her resilience gives Madhuravani confidence. And her film Missiamma, with its angle of a Christian woman (though she’s really a Hindu) and a Hindu man working together, is reflected in the Madhuravani- Vijay Anthony relationship.
But what really thrilled me was the scene where Madhuravani approaches someone to tell her something about Savitri, and he asks how she is qualified to write about the actress. Madhuravani wonders: “Why does one need to be qualified to write a story on a cine star?” It’s the general contempt that used to accompany “film journalism,” which wasn’t considered an area of specialisation then – and in many places, even now. It felt good to hear a movie about a big star make this point – though I wish the film itself had taken this lesson to heart. Writing a screenplay (this one’s credited to Siddhaarth Sivasamy) is a lot like writing a long-form article, or a biography. You do your research, collect the facts, and then, you write with a point of view – with the understanding that the “facts” aren’t necessarily the “truth.”
Continued at the link above.
Copyright ©2018 Film Companion.
sanjana
May 31, 2018
Atlast. Your views on Mahanati are different and thought provoking.
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sanjana
May 31, 2018
https://www.thenewsminute.com/article/mahanati-producers-decline-andhra-govts-tax-exemption-82117
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bart
May 31, 2018
This “feature” (I went back to FC looking for stars and then realised this isn’t a review) is refreshing and well-written as ever. It touches upon the leeway to the director’s view (one-sided or biased, so be it), a nod to the well-made framing device, the facts vs truth argument and the brilliant exactness vs essence finish.
But the question that lingers is how important is it to be a “cinema first” in a biopic? If the film was balanced, had approached the material from all points-of-view (neutralised ?!), the “drama” might’ve been less pronounced (Say a “Periyar” comes into mind vs “Bharathi”, which didn’t shy to show the negative aspects, albeit mildly, of the great poet). The recent “Darkest Hour” comes into mind, in which Churchill was portrayed as a hero for Britons while the facts might point to the millions of deaths that he was responsible for in India, during that period. To be fair, the movie focussed just on the WWII leadership crisis in Britain and didn’t show anything around the impact on colonies. “Gandhi” on the other hand perhaps was a balanced movie (give or take a few).
There are no right answers, but perhaps it is a fine balance with impacts on the film’s immediate reach and its value on posterity.
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Priya Arun
May 31, 2018
I might owe the success of this biopic more to the love of Savitri in our hearts than anything else. We cried because we saw Savitri struggle and suffer. “Oh did she have to go through THIS?”. The Mayabazaar scene with SV Ranga Rao should have made laugh for its funniness but it moved us to tears because we thought “Oh my! Look at her”. It made us miss her.
This is very similar to how people in Andhra used to break coconuts and light incense every time a Vishu/Krishna avatar took a Vishwaroopam. The aarti wasn’t for NTR really.
It is only after we left the cinema hall did we think of Keerthi Suresh and the director. (I made a silent prayer that KS will now have the strength to stop acting in no-brainer front-bench pleasers.)
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rsylviana
May 31, 2018
Still haven’t watched the movie but was waiting very eagerly to know your thoughts on it. Never been a Keerthy Suresh fan , heck I even started to get irritated looking at her after the Remo debacle but after hearing all the praises showered on her after this film , I can’t help but feel happy for her.
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MANK
May 31, 2018
one hell of a ten minute read Boss, nailed it perfectly 🙂
Wikipedia biopic, name dropping like ton of bricks, lack of a specific POV, etc etc all agreed,
Where i disagree is with the framing device, i didnt like it at all, the vijay -samantha story, it came across too gimmicky to me
The same with Keerthy too, i liked her in the light scenes, but she wasnt upto the mark in the more heavy ones. she was too much of a mimic, her performance seems to be entirely based on Savithri’s screen performances, a lot of sasisrekha from mayabazaar in the light playful scenes or Missiamma in the emotional scenes. it appeared more on the surface and didnt feel the depth of the character.
i liked the overall visual feel of the film, the recreation of period details and Dulqar’s presence \performance which is too modern and too hip as you mentioned, too much of a typical dulqar character, the cool, cocky guy in emotional turmoil, but guess Gemini was that kind of guy who would stand out from the times he lived. so it turned out to be perfect casting
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brangan
May 31, 2018
MANK: I am huge romcom fan, and it’s been a while since I saw something as fun and playful and awww-y as the ‘standing on top of the car’ scene or the church scene. I guess that impacted my verdict 😀
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MANK
May 31, 2018
I am huge romcom fan
Huh! who would have thought 🙂
I find this framing device utterly redundant
Citizen Kane is the mother of all of them, journalists going trying to piece together the biopic of a famous celebrity. Since then i have seen this in a lot of movies
Most recently this has been repeated in a ton of malayalam movies. Renjith did it in Thirakatha , which was a loose biopic on srividya , where 2 lovers go about resurrecting her life. Renjith would use it again in Palerimanikyam, this time a more older couple doing the same, There was Naayika – loosely based on actress vijayashree – as well, this time a female journalist doing the honors. so you see , i am frame deviced out with this concept
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brangan
May 31, 2018
No, no — I agree, it’s the mother of all clichéd framing devices. I liked the couple and their chemistry — and it probably helped that it was easy on the eye.
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sai16vicky
May 31, 2018
I haven’t seen the movie yet but the Samantha character seems to be inspired from writer Sivashankari. I remember reading this fantastic tribute from Sivashankari for Savitri, which talks about two phases — first, she meets Savitri the busy star who has no time to spare even for an interview and later, she meets her when she is on her deathbed. Have any of you read it? I tried finding a copy of it online but no luck.
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Anu Warrier
May 31, 2018
Haven’t watched the film but I want to – it disappeared from our theatre before I could. 😦
I do remember seeing Gemini Ganesan as a kid – he had come to our school. I must have been around 6 or 7, I think, and had no idea who he was, other than ‘film star’.
Madhuravani wonders: “Why does one need to be qualified to write a story on a cine star?” It’s the general contempt that used to accompany “film journalism,” which wasn’t considered an area of specialisation then – and in many places, even now.
Guilty as charged. 🙂 Which was also strangely hypocritical considering I devoured films and film news. It took my then-editor to give me the metaphorical kick up my behind for me to change my view.
This was such a refreshing read, BR. Thank you.
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shaviswa
May 31, 2018
Now you have made me want to see this film. Let me see if I can catch a screening nearby.
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MANK
May 31, 2018
Gandhi” on the other hand perhaps was a balanced movie
Bart,.Man,. Gandhi is the mother of all didactic Wikipedia biopics presenting him as a a stainless superhero . Cant blame Sir Richard for that, he would have been lynched if he presented any other version
Sir Richard would go on to make another wikipedia one with Chaplin, a little bit more edgier than Gandhi, but still very bland except that Robert Downey Jr gave an extraordinary performance. RDJ’s performance is really the golden standard – for portraying a world renowned movie star whose personality and mannerisms is so much familiar to the entire world – in creating a fully rounded character without resorting to caricaturing or too much mimicry
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Aman
May 31, 2018
Finally a article that I’ve been waiting for… This movie is really unique in a age where macho is box office standard in Telugu cinema. Was extremely happy to see it become a success despite the fact most of its success was based on the nostalgia of the audience. Having seen it in Telugu, I would say it would say the dubbed version in Tamil would be very inferior. But then What surprised me was that you found Mohan Babu as SV Ranga Rao convincing. I couldn’t buy him even for a single second especially in the Mayabazar parts. Same goes to Naga Chaitnaya as his grandfather.
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RC
May 31, 2018
Finally. Was waiting for this post ever since I saw this movie.
The movie completely drew me in. Especially the scenes from Mayabazaar stayed in mind for days after I walked out of the theater. So, as cinema, it completely worked for me, despite the one-shade characterisation of Savitri. Didn’t it surprise anyone that the director didn’t even touch upon her being a ‘not good’ mother?
BR: surprised that the Samantha and Vijay Devarakonda angle worked for you. Those two were like chalk screeching on a board for me. Their terrible diction stood out so much more when everyone else spoke Telugu like natives do. In fact, Gemini Ganesan and Savitri’s romance was much more aww-some, I thought. My heart might have skipped a beat everytime he called her Ammadi 🙂
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Aman
May 31, 2018
Now come to think of it, Telugu cinema is surely undergoing a revolution with films like this, Arjun Reddy, Pellichoopulu, PSV Garuda Vega,Ghazi, Awe etc.., Even though the typical mass films are still the major money makers, even they are being demanded to bring on something new to the table. The gamechanger was definitely Bahubali
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bart
May 31, 2018
@MANK, yeah, biopics can be edgy only on parts that are common knowledge and should be mostly in keeping with the overall image of the person concerned. Else will surely raise disgruntled voices or will not be accepted (e.g.: “Gandhi, my father”, well-made and acted). With “Gandhi”, even those edgy portions (self-declared in his autobiography) were swept aside but is an engaging watch nevertheless (National identity perhaps playing a role).
I never found the reviews of “Chaplin” (RT score – 58%) glowing, and hence had skipped it sofar. Will give it a shot for the Iron Man.
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sanjana
May 31, 2018
It is not easy to do biopics even if the person is no more.There will be people connected. Court cases, lawsuits will follow. Already someone expressed about not giving importance to the first wife’s anguish in the film.The director’s hands are tied. Sanju is also facing the same situation and so Hirani seems to concentrate on selected aspects of his life while skipping many unpleasant things like the bitter divorce, the misunderstandings and other not so pleasant aspects of his protagonist’s life. If a fictional character like Padmavati can create such a big storm, what to say about lesser films?
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jaga_jaga
May 31, 2018
Please review “iravukku aairam kangal” also! Found it to be a flawed yet fascinating watch…
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Dani Kris
June 1, 2018
I feel this is a biased review from a Tamilian perspective which you tried to fend off when reviewing, but couldn’t. As a movie, it was a well done biopic with wonderful acting. As a tamilian myself, of course, I was disaappointed not to see Sivaji or other personalities, but I didn’t let that color my view of the movie itself. Yes, one can go into the psyche of a biopic and make it about one aspect of a person’s life, but this director choose otherwise and delivered. I did find the switching of the scenes b/w Madhuravani and Savitri jarring in the end since I was so engrossed in Savitri’s life. We can agree to disagree on the “Execution” of the movie and its intent. Maybe they shouldn;t have called it a bi lingual in the first place… I liked it as much as I liked Iruvar and thought the casting was better than Iruvar.
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Ravi K
June 1, 2018
The framing device was a double-edged sword for me. Savitri is beloved now, so the framing device reminded us that by the time she was in that coma, she was largely forgotten (or, at least, that’s how it was presented in the film), and Madhuravani was uninterested in writing a story about her. However, I felt that the bit with her parents arranging her marriage and the wedding episode were too much, and her monologue by Savitri’s bed overly spoonfed the idea of what an inspiration she was to her, as if this movie itself until that point was not showing that! Subtext became text.
The movie does cover a lot of ground, but the detailing prevented it from seeming like a checklist of events for me. If the film hadn’t covered her entire life we would have missed out on that wonderful pre-fame portion in the village, and the rise from those humble beginnings to superstardom and then her dramatic decline. Some portions, like her directing that film, did feel hurried through, though. The epic timespan of the film made us feel the whirlwind of her life.
I wished to see Savitri with more agency. Things just happen to her throughout the film. Her uncle drives her entry into the film industry. Gemini cheats on her. Gemini introduces her to alcohol. The income tax department raids her home. People in her circle take advantage of her. Even the directing job just comes to her, and we don’t see if she relished the process of directing a film, of being in control. The scene with the tear might be the only time we get any look into what made her special as an actress.
Compared to how much we know about the Indian film industry today, or how well-documented Hollywood history is, the history of the Telugu/Tamil industry (and Indian film industry in general) in previous decades feels like a bit of a mystery. A lot of the people from that era are gone, and it’s not like there are a ton of books, documentaries, etc. about that time. There’s a lot we simply don’t know about that time, which is why I’m so intrigued by it. So much of that era is lost to time.
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kaizokukeshav
June 1, 2018
Would have loved if Iruvar was also brought into the comparision along with Lawrence of Arabia. Especially some inventive music from Rahman was a true game changer.
Mahanati was made to look like a ‘Telugu’ version of Savitri biopic instead when there was a scope for a universal movie. Starting from marketing to storyline, everything was pure commerce, and that has been the story of Telugu cinema ever. Be it bringing Samantha and Vijay characters (for some star cast), be it showcasing (read glorifying) old generation super stars (with so many sycophants err… followers) or be it showing a repeated(mimic) scenes for the big part of the movie. Few in my circles have been asking why Savitri was left to no one when these super stars were living a most revered and richest lives ! In reality, no one knew where to leave Savitri’s dead body after dying !
From the original old movie clips, it was quite clear that Savitri was not cute but a bold woman. And I wish the director and Keethy Suresh were able to comprehend this simple fact.. and the lack of grace showed in her eyes.
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Enigma
June 1, 2018
BR, you know why Gemini Ganesan has been referenced but not Sivaji Ganesan, MGR or Karunanidhi. Because the filmmaker can depict controversies without any fear of reprisals from GG’s caste men or fans. GG was also not member of any political organization. Not sure if you risk showing anything critical of MGR, Sivaji or Karunanidhi.
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sanjana
June 1, 2018
Gemini Ganesan was referenced because he was her husband. The director was very kind to him as to not attract controversies from his first family or his fans
The way Rekha was treated should be an eye opener to his fans.
The poetic justice was Rekha handing him over the filmfare trophy for lifetime achievement and she also never expressed any bitterness other than feeling sad. And she idolized Savitri!
Rekha’s biopic will be as interesting.
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phaneendra201
June 1, 2018
You should get another national award for this excellent review.
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mrinalnarayan
June 1, 2018
By the end of the first half, I thought they could have done a biopic of Gemini Ganesan instead, especially with an actor like Dulquer Salman on board. Not that they cut out a perfect Gemini out of him, but that charm. Just for that essence, like this review mentions…..
Oh.. when he says “Ammadi” when he talks to Savitri.
The studio sets, 1940 Madras backdrops, the people (podhu janam) gave a stage drama feel. I think it works wonders and adds better credibility when the filmmaker just plays with light and creates illusions instead of coming up with half baked cardbod-ish backdrop set for a cinema (For example, Iruvar, showing the same timeline, did a fantastic job.).
My expectations for this film was low, esp with Nithya Menen getting replaced by Keerthy Suresh. I wasn’t able to relate very much with the Savitri in the first half. Glad, I watched it in Telugu. Then came the second half that made me forget about those glitches and miscalculations. Keerthy Suresh just owned it. All the skepticism flew out of the exit door. She was amazing in those heavy duty scenes. Also, I just wanted them to keep continuing the Mayabazaar scenes.
Reminded me of my Kaaviyathalaivan experience. How the acting overshadowed the dull screenplay.
The Samantha-Devarakonda part evolving with Savitri’s life and ideologies is a neat idea that didn’t translate so well.
Felt Malavika Nair was excellent. The presence was great. Like Revathi in Iruvar.
And what is someone like Tulasi doing in Mathuravani’s timeline? She should have been in Savitri Garu’s part. Would have loved to see her as Savitri’s mom.
Very good cinematography overall. Enjoyed the 1980s part a bit more. (Lookwise, It was like seeing a pair like Revathi-Karthik from Mouna Ragam in Samantha-Vijay Devarakonda)
The larger than life background scores at some places was too jarring for the tone. Especially the Mahanati track when it plays for the first time. Loved Sada Nannu and Mooga Manasulu.
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Priya Arun
June 1, 2018
@RC “Didn’t it surprise anyone that the director didn’t even touch upon her being a ‘not good’ mother?”
There’s just one but very sharp reference. The scene where she forces the child to wake up and sleep in her own room…that just one scene said a lot I think. She’s failed as a wife. She’s anxious not to fail as a mother too.
The diction of Samantha and and Vijay DK is typically that of people (esp youngsters) living in modern day Hyderabad city. Definitely not of Telugu people living in ‘Madras’ not even the true-blue T Nagar Andhra people. Yes, it was a little jarring. But the romance was sweet.
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Priya Arun
June 1, 2018
Dulquar Salman seems to get these romantic clutch words all the time – it was ‘Kanmani’ a couple of years ago and now it is ‘Ammadi’. Enough to make his lady fans sigh.
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Priya Arun
June 1, 2018
Oh I have a question: I wonder how ‘Madhuravani Garu’ would have translated in the Tamil version. He says that at least a 100 times throughout the film.
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Gayathri Viswanathan
June 1, 2018
Saw the movie in tamizh yesterday. I felt it took me back to an Era of larger than life people, actors who were deified/demonized. Somehow I could relate to savitri the character. I liked Keerthi Suresh in the middle part of the movie better. Dulqur was aptly cast. No resemblance but the charm really came through.
Leaving out Shivaji, maybe they did not find anyone convincing enough to play him.
Priya Arun, Antony calls madhuravani as vani madam in the entire movie
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Priya Arun
June 1, 2018
Oh? Thank you @Gayathri Viswanathan! “Madhuravani Madam” Woah that’s long!
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Sifter
June 1, 2018
That’s an interesting review.
Savithri was magic in Navarathri. The bits where she becomes an actor by accident, becomes the conveniently-mentally-ill woman and the deliberately-possessed person continue to be bewitching till date.
@ sai16vicky- This could be the article from Sivashankari:
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Anuja Chandramouli
June 1, 2018
I have absolutely no interest in watching the Tamil or Telugu version of this film since biopics in these parts tend to be entirely devoted toward deifying the subject. Throw in a romcom (Ugh!) as a framing device and even the droolworthy Vijay Devarokonda cannot entice me into watching it. And yet, I love reading about black and white era films and stars so I have been reading articles on Savitri, just about anything written by Randor Guy, reviews on Mahanati and enjoyed gobbling up this yummy piece. Which is why I absolutely have to give my two cents here reg. the reasons why I find this film I haven’t watched highly galling 🙂
I am heartily sick of the ‘child woman’ we revere so much and repeatedly portray on the big screen never mind that this is entirely a mythical creature fabricated from the twisted minds of pedophiliacs. Why is there so much damn emphasis on a woman’s ‘purity’, ‘innocence’ and commitment to only one man? By all accounts, we can say that Savitri was a tough cookie who knew what she wanted and had what it took to make it in an unforgiving industry. What is so wrong with accepting that she was a remarkable but flawed woman who had her train wreck moments but is still worthy of admiration on the strength of her achievements and the demons she wrestled with in her personal life? Where is the need to make her out to be the saint she certainly wasn’t? And surely we can acknowledge or accept that a woman has her big girl panties on when she chooses to take up with a married man, enjoy a drink or have multiple relationships instead of getting our own knickers in a twist or coming up with lame excuses to justify said behavior? It is ridiculous how some men with their raging Oedipal issues persist in placing inflated visions of the ideal woman on tall pedestals while feeling free to treat real women like crap and justifying crimes against them.
I daresay when Sridevi’s bio pic gets made we will have more nonsense in this vein. This preoccupation with elevating celebs and cricketers to Godlike status is getting seriously stupid. And we wonder why Sallu Bhai got away with murder and Sanju da got a gentle slap on the wrist for aiding terrorists (allegedly?)! No doubt the latter’s biopic will have us performing pujas in honour of his misunderstood nobility. 🙄
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Rahini David
June 1, 2018
“Madhuravani Madam” Woah that’s long!
Well it added to the Formality of a 80s workplace romance. So it was OK. Moreover garu and madam are both technically 2 syllables each, no?
Regarding the “wasn’t a Good Mother” part
Her daughter does mention this when fighting, no? “Do you ever thought of me or my brother?”
More like Wikipedia
Am I the only one who has come to love Wikipedia more than movies? Ok then.
Framing device
I have not seen any other movie with this journalist framing device but I can see that it will bore a person like MANK who has actually listed the movies he has seen it in. The Iruvar copycat scene itself made me wince and think “Why use such a famous scene from such a famous movie?”
Maybe Iruvar isn’t famous in Telugu-speaking population and they thought it was ok.
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Vidhya M
June 1, 2018
Watched the movie yesterday (in Tamil) and came here to be pleasantly surprised by the timing of your review.
Your last line on Dulquer is contrary to the opinion piece written in Ananda Vikatan – they found Dulquer to be the only jarring piece in the movie. Reason? He did not “mimic” Gemini 🙂
I too found Dulquer to be affable and charming, a lot like Gemini. But Dulquer, being Dulquer could never be the philandering, jealous loser in my eyes. On the other hand, Vijay Devarakonda, fresh after his turn in Arjun Reddy, would have fit this role perfectly. Charming, yet capable of being loathsome at times. So I would have loved a swap of the two actors.
Though I missed more references to Savithri’s Tamil movies, am glad that “Malarndhum Malaradha” was showcased – and it brought tears to my eyes in the few seconds it was played. Dint miss MGR much, but Sivaji’s grandson could have been roped in for a cameo like they did for ANR. Wishful thinking.
Everyday I cross Savithri’s house in Habibullah Road – today I couldnt but spend a few seconds outside the building, now called Icon Savithri. So I guess the Biopic’s job is done – it got us thinking about this forgotten icon.
(Quite a few shops in Habibullah road stretch used to carry Savithri’s photo in the 80s/90s. As a kid I dint know why. Now I realize it is because of her philanthropy)
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Anu Warrier
June 1, 2018
@Sanjana, Rekha’s biopic will be as muddled as the lady herself makes it. She has built an alternate reality for herself, and I’m quite sure she either believes it herself, or is laughing quietly at having hornswoggled an entire nation into believing it.
However, she’s a remarkable lady, and if anyone can be said to have lived her life on her own terms, it is she.
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Anu Warrier
June 1, 2018
Anuja,
I chortled in agreement with most of your comment. (And it is vile.)
However, where S Dutt is concerned, never attribute to treason what can be explained by stupidity. 🙂 My husband knows the chap – brains aren’t his forte. He was used because he blindly trusts those he calls ‘friends’.
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Srinivas R
June 1, 2018
@Anuja – Loved your superb comment. Everything you mentioned. from the child woman to the deification to the parting shot about Sanju was marvellous.
I am sick of the Sanju trailer actually. For a guy who possesed illegal arms, a guy who had association with terrorists, he got away with a slap on the wrists. What’s worse people who committed far lesser crime in the whole 1993 bomb blast saga,were punished with life sentence or death, simple because they were poor. It’s in these times that Bollywood comes across an entitled association of hypocrites.
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sanjana
June 1, 2018
Anuja, the film is a fan’s tribute. So the fans will definitely watch the film. And they are many.
As for Sanju’s biopic, let us wait. Even bad boys and bad girls can have fans. Godfather, Nayakan are examples. All of us have shades. And thats why this fascination for such films happens.
The films about good persons will be documentaries!
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Pavan
June 1, 2018
Can anyone name a biopic of a public figure loved by many which was unbiased? First of all, in calling a biopic biased, aren’t we showing some bias? Just wanted to ask this.
Coming to Savitri, I don’t understand even now what was so special in her. She was graceful, and that’s all. Missamma was lovely for me because of NTR alone (I’m a Telugu guy, not so aware of the Tamil version).
I wish to see an adaptation of that film today, but I wonder if I could cast the actors properly in this “dream”. I’ll start it, by casting Prakash Raj as the zamindar and Jayasudha as his wife. You too drop your opinions about the other roles. Let’s have some fun in the parched lands… why always make every discussion so serious?
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Pavan
June 1, 2018
Priya Arun: I made a silent prayer that KS will now have the strength to stop acting in no-brainer front-bench pleasers.
Nice prayer, but tough luck. KS has confirmed in an interview that she would be seen in three non brainers post Mahanati, all signed long ago. Better we be not so judgmental about her.
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Rahul
June 2, 2018
Anuja, i wonder what you think of Smita Patil’s Bhumika, the unauthorized biography of Hansa Wadkar. In my opinion it does not suffer from the problems you have mentioned in your post.
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sai16vicky
June 2, 2018
@Sifter — Thank you so much! 🙂
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praneshp
June 2, 2018
@Pavan: “Coming to Savitri, I don’t understand even now what was so special in her”
She was special enough to be called “Nadigaiyar Thilagam”, no?
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Indira
June 2, 2018
Mahanati was made ONLY after Savitri’s children went through every single page on the script written by Nag Ashwin, so what we see is what ONLY the family wanted the public to SEE ……there is nothing that is NEW . All the answers regarding savitri’s life are as vague as before the film was made. No ones feelings were hurt , all the supporting characters including Gemini Ganesan are neither good nor bad ……
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Pavan
June 2, 2018
praneshp: She might have been. But what to do? I lost belief in such bestowed titles.
Remember Bhanumathi Ramakrishna? The daredevil among the actresses of the yore? She too had one such title “Nadippukku llakkanam”. But was it really justified? Film after film, character after character, she was Bhanumathi. She was never the character she played. Even Savitri’s work in Missamma resembles that of Bhanumathi. Neither the filmmakers nor Bhanumathi wanted herself to be any different while playing a character. Not just this case, many such honorific titles seem waste, almost a mere act of flattery. As worse as the Telugu actor Nani being credited as “Natural Star”. Sickening!
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sanjana
June 2, 2018
Titles or no titles, Savitri had great charisma and great acting skills which she displayed in both tamil and telugu films. Her beautiful face covered up her unflattering figure. Her contemporary Jamuna was also quite popular and she maintained herself well. Bhanumathi was multi talented. She was a singer, dancer, writer, director and actress.
Some can handle success and some cant like Rajesh Khanna.
ANR looked and acted the same and so was NTR in social dramas. NTR fitted perfectly as Ram, Ravan, Krishna and that gave him an edge over others.
MGR never displayed any variety but was hugely successful like Salman Khan. While Shivaji Ganesan was truly a thespian in dramatic roles.
KH came as a breath of fresh air who cant be slotted. By far, he is the best in my opinion. It is not only about acting but also X factor that makes one a great star across the country.
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Naveen
June 2, 2018
@Pavan, i dont think there was anybody equivalent to Vijay Sethupathy in the earlier days, who would do almost totally different role in every other movie, still retaining himself in each.
Savitri has taken her place in the hearts of Telugu and Tamil people. in TN, one cannot discuss Sivaji or MGR without mentioning Padmini and Savitri as much as you cannot discuss Kamal and Rajini without mentioning Sridevi and Sripriya. my most favorite of Savitri is Tiruvilayadal and Navarathri, all thanks to these movies coming up on TV. her tragic real life made the public all the more curious about her. it makes one wish why not a single soul from the Telugu or Tamil industry could do anything to rescue her from the fall.
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MANK
June 3, 2018
Just like there is nothing like an unbiased review, there no unbiased biopic either. I agree with Sanjana here. this is designed as popular entertainment and i dont mind that the filmmaker did not delve too much into the darker areas of her character. Its one thing for Shyam Benegal to make Bhumika, portraying the actress warts and all, as its designed as a niche art house film, but when you make a large scale mainstream picture , you are bound by certain commercial considerations so that the film reaches the widest audience.
i dont think the infantilization of the lead character – the child women aspect of it or the saintly purity – is only to appeal to the male audience or oedipals or whatever., a lot of women want to see this kind of character too and refuse to accept the women portrayed with flaws. Secondly , it is no fun , or not commercial enough for the audience to see a shrewd , flawed women go down in life, its when a pure as innocent soul is destroyed by people around her or by the circumstances that it connects much better.
This goes back to the comment i made in Padmaavat thread, about the state of indian film biopics, the ones in the mainstream. the real personalities and events are just an added flavor for the already existing formula – the hero, the villain,.the romantic angle, the climactic triumph or tragic end – , the biopics of milkha singh, MS dhoni, the phogat sisters, all of them pretty much follow this formula. its impossible to make a film like Raging Bull in the current scenario even in Hollywood where the disintegration of a great boxing champion is shown in such gritty brutal detail. That film is considered a classic , but even then it was a commercial flop. you could see the difference when the same Scorsese made the Howard Hughes Biopic , the aviator almost 25 years hence, he concentrated more on the sunnier and triumphant aspects of the Hughes character and the film stops at the point when he fell into the darkness.
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phaneendra201
June 3, 2018
Excerpts from interview with DOP of this movie – he used blue color palette for Savithri’s childhood days, used dark pink for her early days in Madras, used mixture of red and kumkum color when she was in love, gold color when she is successful in industry, dark blue during her latter portions of life.
And also lighting was foucssed on somewhere else rather than Savithri’s face during latter portions of life. It is to depict that her life is shadowed by something else.
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MANK
June 3, 2018
Dedicated To all Keerthy suresh Fans . Ignore that PSPK dude in there.
it seems that this song was shot at the same time as she was deeply into playing Savitri’s character. all that highly theatrical expressions and body language. well it will be difficult for her to find roles like Savitri as very few films are made like that, her next movies are more like thalapathy 62 types, but whatever she does , i hope she stay very far away from these agyaathavasi type roles, where she is one of the 2 young heroines (physically) fighting it out for the middle aged lead hero, i though all that was done
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Madan
June 3, 2018
” Secondly , it is no fun , or not commercial enough for the audience to see a shrewd , flawed women go down in life, its when a pure as innocent soul is destroyed by people around her or by the circumstances that it connects much better.” – I don’t disagree with this as a general preference but Dirty Picture did well despite depicting the downfall of a flawed, shrewd female protagonist.
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sanjana
June 3, 2018
I think DP is about a vamp, not a heroine. And it was sold as a bold film. Vidya doing the role also helped. Expectations from a film about a big heroine who mostly did positive roles will be somewhat different. If ever a film is made on Rajesh Khanna or Raj Kapoor, the director has to be very careful.
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brangan
June 3, 2018
Yes, I agree. It’s a sad, hypocritical thing. Because Silk Smitha was either a vamp or “just a cabaret dancer”, DP could get away with looser morals. Because the screen persona spills over into the real life as well.
Even today, people say things (even of heroines) like “she’s an actress, she sleeps around.” Imagine the perception of vamps/dancers.
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Jayram
June 4, 2018
@Pavan, here’s my “dream” cast of Misamma (Telugu):
Zamindar- Rajendra Prasad
Zamindar’s wife- Jayasudha
MT Rao: Nani
Mary/Mahalakshmi: Nithya
AK Raju: Vijay Devarakonda
Sita: Eesha Rebba
David: Srini Avasarala
Musali Panthulu- Naresh
Mary’s foster parents: Anant Nag and Lakshmi
Devayya: Vijay Sethupathi
What’s yours?
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sanjana
June 5, 2018
Well, bollywood vamps are better treated by the audience and they are also respected. Helen, Bindu, Nadira, Shashikala etc. receive admiration and respect. The south vamps are exploited by the film makers by making them look sleazy and cheap and the vamps are also to be blamed for doing everything to get such roles. Recently there is news that one was arrested for running a prostitution racket.
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Pavan
June 5, 2018
Jayram: Thank you for participating.
I said before that I wish to see Prakash Raj and Jayasudha as the Zamindar and his wife. For the rest of the casting,
M T Rao: Nani
Mary: Nithya Menen. Keerthy Suresh and Swathi Reddy too would do. But, Nithya would be a better choice.
A K Raju: Priyadarshi. Rahul Ramakrishna can also be fine.
Seetha: Punarnavi Bhoopalam
David: Ravi Babu (I know that’s odd, but…)
Mary’s foster parents: Anant Nag and Lakshmi are good, but I don’t think they would accept such “small” roles (despite being a dream). Surya (Telugu actor) might fit well as the father.
Devaiah: Sapthagiri. Tagubothu Ramesh too can be considered.
Govinda (Raju’s assistant): Dhanraj
Grumpy old master: Tanikella Bharani
That’s all for the Telugu version. Cannot comment on the Tamil version, because I don’t have a proper understanding of what works for an actor from this industry.
At the end of the day, despite being a dream, I must acknowledge that Missamma’s narrative style has been adapted multiple times successfully. Today’s audience might find it jaded. But, some hope given how “the way it is told” matters now.
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Jayram
June 5, 2018
Nice list, Pavan. Just a thought.
Do you think the roles of AK Raju and Devaiah should be played by leading actors rather than comedians? Because I feel they need to match Nani rather than support him.
I partially agree that Anant Nag and Lakshmi wouldn’t accept such small roles as Mary’s parents, but I feel it would be nice to see their combination again after so many years. And seeing them with Nithya would be delightful.
Does anyone else want to share their dream cast for Missamma?
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Pavan
June 5, 2018
Jayram: Missamma was, is, and continues to be a film headlined by Savitri. Everyone, including NTR, were cast in supporting roles. There are two tracks: First, An unemployed, unmarried couple of strangers of two contrasting religious backdrops pretending as a married couple, getting a job, and then falling in love. Second, an amateur detective trying to find if the new teacher is his uncle (Zamindar)’s missing elder daughter. Chakrapani wrote them based on two different novels, and it shows in the screenplay that he favoured the idea of the first one more.
In order to ensure that the film’s integrity remains undisturbed, the prominence must be given to the first track, and the second must be a recurring subplot. If we have to respect this model, definitely casting leading actors would be a grave mistake in today’s times. It was a grave choice back then too, but with ANR choosing to shed his tragic hero image post Devadasu (five films in between, all tragic ones), the gamble paid off. Plus the audience were able to accept them.
This brings me to another similar character, the zamindar. If I were inspired by Rajinikanth in Pedarayudu after watching this scene and cast him, he can sell the role. But the market would like him to sell the film also. His role would be extended, it needs to shine somehow. And another Kuselan shall be on the cards. That’s the major issue.
(He can sell the zamindar’s innocence and authoritativeness at a time, that’s what I felt looking at the scene)
Hence, I do believe that casting leading actors for Raju, Devaiah and David too, would not be a smart choice.
Does anyone else want to share their dream cast for Missamma?
If yes, please please do. Tamil or Telugu, based on your own preferences. Your participation shall give an understanding of how we look at one of the classiest films in Savitri’s filmography. Thank you!
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Jayram
June 6, 2018
Thanks for the elaborated post, Pavan! Much appreciated.
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The Ghost Who Walks
June 8, 2018
I think in India, a warts-and-all kind of a Bio-pic is only possible if the subject (and/or the family) of the biopic is extremely honest and forthcoming. Oddly, which is also why i have some hopes on Sanju, because Sanjay Dutt has always been open about all of his problems. I read RK Hirani somewhere that Dutt asked them not to hide anything, so fingers crossed i guess.
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blurb
July 6, 2018
What ragam is Sada Nannu, anyone knows?
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Priya Arun
July 9, 2018
@blurb I thought it is Kadhanakuthoogalam but someone said it is a mix of Senchurutti and other raagams (film licensed mix, you can say!)
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