(by Deepika Santhanakrishnan)
In this article, I am going to analyze a small scene from Anbe Sivam, which represents the ‘transition’ phase for A.Aras (for those who have watched the movie would know). It can be accessed here:
To give a brief background to this scene– the movie is set in the background of Anbu Arasu’s (played by R. Madhavan)travel from his work place for his wedding and the hardships he faces along with a fellow passenger Nalla Sivam (played by Kamal Haasan) on their journey to their respective homes. Nalla Sivam, a man who has met with a life-changing accident leaves an impact on Aras’s life where ‘Anbu (Love)’ becomes ‘Sivam (God)’. This particular scene – which is shot after Nalla convinces Aras to donate blood for a stranger child – where Aras transition from being an elite-class flamboyant man to being an empathetic fellow human-being, has a lot of hidden meaning andI am going to decode them.
Observe the goats in 0:14, which represent the bucolic situation they were in while they were travelling before. The goats extend the feeling from the previous scene naturally; while, observe the vehicle which pass through in 0:24 when Aras moves towards the stranger child for whom he had donated his blood. This can be interpreted as the cat which pass through you for which you stop – which acts as a nice segue to the brewing up situation Aras goes through. Not to miss the globe ball Aras’s tremored hands hold – possibly with hope – at 0:22.
Disturbed by the impending difficulty that the stranger boy is to go through, for which Aras closes his ears to stop hearing the clinical sounds, we see crows being shown at 1:06. There can be two ways for meto decode this. The first I did was to access the dreammoods.com website for interpretations of seeing crows in dreams. According to which, crows can represent death of a person’s character. This can very well be taken as a segue to the philosophical journey Aras is going to face. Secondly, I felt that seeing things out of purview can act as an escape mechanism to hearing the boy’s ‘death’ or Aras’s unempathetic character ‘dying’. Well, it is for you to decide.
Observe the truck that goes through at 1:11, which represents the metaphysical journey that Aras go through at the moment. The journey – like the truck – isalso turbulent with ups and downs.
After the child’s death at 2:08, Aras throughs away the ball – of hope – made up of globe map that acts as a proxy for human-beings alias humanity, which touches the tree at 2:08, which may represent wisdom, or otherwise, a bare branch of a tree can also represent being exhausted after investing emotions into an act. At 2:09, it reaches the calm water creating a splash. This may represent a shock to his serene-yet-unempathetic life – ‘water’ representing the serenity, while the ‘splash’ representing the shock. The whole scene is about the ‘transition’ that Aras goes through, like as I said before – from being an elite flamboyant man to being an empathetic fellow human-being.
Of course, the hardcore movie goers would interpret Nalla sitting on the left and Aras sitting on the right at 2:27 as representing two-ends of the political spectrum. I am not adding much here.
What I would like to add though is about the bike passing by at 4:12-4:13. Again, this bike is the ultimatum of the ‘transition’ that Aras has made and the new life that is awaiting him. Note the speed of this bike compared to the speed of the truck. The after-life of this Kubrickisque-often-fast transition leading to a higher intellect, and this itself is symbolized through the bike as ephemeral, and so the speed of the truck seems fleeting in retrospect.
The last two seconds of the video, paying homage to the last-minute twists like the classics of O. Henry and the white-old-ambassador that goes away along like Nalla from Aras’s view is a sign of great men – Nalla here – who often disappear after helping the populace.
I may be wrong in my views. I am all for discussions. 
Hope you liked my interpretation.
Baradwaj Rangan 
naveen
August 5, 2021
Unfortunately many fail to understand the depth of Kamal’s movie. Unappreciated when it was released, but today, it is a classic gem. Unforgettable film. Not many will understand this movie at first but decades later realize how beautiful this story was 👌 Will be remembered as a iconic scene for a long time, like the devar magan scene between sivaji n kamal. i will watch this clip a zillion times, yet who would know the immaculate artistry behind it !
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Kvassam
August 7, 2021
Everything is ok. My opinion differs. Aras is the one who killed the boy, involuntarily. He had a drink (whiskey, with sedatives) last night in the train and in the morning post accident he donated his blood. Because of his blood (alcohol and other sedatives), the boy could be dead. Might be a writing error…..
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Yajv
August 7, 2021
@Kvassam:
I remember my doctor mum sitting next to me, while watching this movie, pointing out that the hero had just killed the boy by donating his alcohol/sedative-laden blood. The scene is burned in my memory as a result. Glad I wasn’t the only one with that reading. Really enjoyed the movie besides that though.
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naveen
August 8, 2021
i often wondered why did the boy died inspite of getting same blood group on time now i got the answer !
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Deepika Santhanakrishnan
August 8, 2021
I am happy @Yajv brought about his mum being a doctor here.. I was wondering if the sister-cum-medical-nurse hadn’t enquired about Aras having a drink in the day before; or, it could have been the case that the need for blood overtook the need for non-sedative blood. May be a doctor will know the science. Though I agree with all the view points here.. Just that I wish to give the benefit of doubt-and-hope..
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vijay
August 8, 2021
Deepika, how do you pick scenes/films to decode the symbolism? why do you think this scene has hidden symbols that needs to be decoded? For instance, the truck passing by could just be because they were shot near the highway where the accident happened. There could be many alternate explanations or maybe no explanation at all for a particular fleeting shot. It was there maybe because it looked good, as simple as that. I always wonder what makes film students choose a particular film/scene to dissect and try to come up with endless explanations. Do you assume that since it was written by Kamal, it is naturally going to be a jigsaw puzzle whose pieces you need to find and put together? would you decode this scene the same way if say,tomorrow you were told that C.Sundar did everything associated with this movie and Kamal did just the acting?
These are genuine questions which are of interest to me, not meant to critique your approach or anything.
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Deepika Santhanakrishnan
August 8, 2021
I will try and answer all the points raised by you, @vijay! 🙂
1. On the question of how I choose scenes – I think with experience I would be able to decode any scene from any movie. For this post though, I choose a scene that was suggested by youtube based on my previous activities, and so the scapegoat is youtube I guess 😉
2. Why do I find it in my need to decode this? I started this exercise when I did a certificate course in film appreciation. We were taught to decode every object, frame-by-frame and to be sure, I don’t think more than two or three analyses in this article are my own. And I find it in my need to decode, and post it in public domain so that I can also learn from the readers as an exchange of knowledge. Watch this: https://www.youtube.com/watch?v=CxA94uSQ-t0 , to understand how a musical prelude could be interpreted. I find art as a medium of expression very fascinating, being a dancer myself.
3. The truck passing by can just be a happenstance – When they are shooting, the whole area including a few kms of surroundings are protected from external ambience. When so much care is taken to shoot a scene, the chances that a truck pass by is a coincidence – is not acceptable to me. Also, if you notice, I ended the post saying ‘my interpretation’. This could very well be wrong. For instance, even I thought the hand trembled to hold the ball to be preposterous. Again, I am all for discussions.
4. And yes, as film students, we wear zoom lens to interpret, especially when it comes from a different creator other than the self. Since we try to reason what we would have done in the creator’s shoes. Again, our analyses could be wrong, but to call it baseless – is debatable.
5. On whether it is for the fame of Kamal Haasan – yes and no. No, because I think I would done the same with ‘anybody’s’ body of work. Yes, because in our film courses, all the exercises we did were Oscar winning pieces. For instance, https://www.youtube.com/watch?v=wE2gTZN-oPU – this was one such scene for cinematography, which is an Oscar winner. Check this – https://www.youtube.com/watch?v=0piiNk_jMrE&t=37s for live action, which won Academy Award for best short film.
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vijay
August 9, 2021
“I started this exercise when I did a certificate course in film appreciation. ‘
Figured that much.
””When so much care is taken to shoot a scene, the chances that a truck pass by is a coincidence – is not acceptable to me. ‘
that was just a random thing I picked. My bigger point is how do you conclude that so much care was indeed taken to shoot the scene in the first place? Again that is your assumption based on what?
” No, because I think I would done the same with ‘anybody’s’ body of work.”
OK- would you do this deciphering exercise, say, for a mainstream Tamil film say of Vijay/Ajith? if the answer is no, why? If it is yes, I would be interested in reading that. Or even a Bala film which is slightly off-mainstream.
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brangan
August 9, 2021
vijay: Over the years, you have made it amply clear you don’t believe in “reading” a film. So why don’t you just ignore these posts? Serious question 🙂
Because I can tell you a Vijay movie and an Ajith movie that one CAN deconstruct: MASTER and YENNAI ARINTHAAL respectively. Just like I can tell you a Kamal movie that gives us little to “read”: TENALI or PAMMAL or whatever, which do not rise above the screenplay level.
Not I haven’t read this piece yet, but the idea behind film appreciation is that:
1 – The frame is everything (what is contained within the frame)
2 – Images are to film what words are to poetry (the “meaning” exists with the viewer/reader, provided he/she can make a convincing case for it).
3 – The author does not have the final say, because his/her conscious/subconscious process may have written the poem or made the movie, but he/she cannot expect the receiver to “read” the film/poem the same way.
And so on and so forth.
It’s like saying MSV made a song in Mohanam and the phrases are so beautiful. Nobody knows if MSV really intended to make the song in Mohanam. But to my ears, if it sounds like the ragam, I can make a case that the SONG has these traits. (I would never say MSV deliberately did this, because that I would never know for sure.)
Over years, one instinctively knows which films are giving us stuff to read and which ones aren’t. Even without knowing who Lokesh Kanagaraj is, you knew MANAGARAM was constructed in a very deliberate manner, that it spoke “film language” rather than “script/theatre language.”
I am not trying to convince you at all 🙂 Just wondering — given your (equally valid) ways of watching a film — that it may be easier to ignore these posts 🙂
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Deepika Santhanakrishnan
August 9, 2021
Also, @vijay: You asked an example from mainstream cinema right? When I come across this kind of reasoning in a Vijay / Ajith film, I will make sure to post it here.. But to satisfy your soul for the moment: https://images.hungama.com/c/1/740/c13/20220602/20220602_700x394.jpg This frame is the first scene that comes in Mannipaaya song (VTV) after Jessie agrees to Karthik’s Love. She is wearing blue since he said ‘blue suits’ you. But the lens I wear notes the more interesting clothesline that you can see behind her.. It is intended to mean that she has crossed the family line or restrictions so to say. How do I know it for sure? Cos GVM mentioned the phrase ‘crossed the line’ twice in his interview ‘Deep Focus’ with BR again. Before I saw this interview, it quite didn’t strike me to notice this green line behind her.. 🙂
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vijay
August 9, 2021
BR, like i mentioned earlier those were genuine questions set to understand the other perspective. I haven’t made any comments along the lines of why the heck are you doing this and so on… And plus I do find certain readings really interesting as well(like the “survival of the fittest” piece somebody wrote here on chekka chivantha vaanam which was more interesting than the movie itself). But that’s a bit different from looking for symbolism in every passing frame. it feels akin to science students dissecting lab rats. Not what you would normally do WHILE watching a film in the theater. Maybe some of it, but not to this extent. So was naturally curious to know what prompts such readings (apart from knowing beforehand who wrote the scene and the creator’s wont). How much of cognizance bias plays a role here? is it just a purely academic exercise?.If so, what do you get out of this ?
“It’s like saying MSV made a song in Mohanam and the phrases are so beautiful. Nobody knows if MSV really intended to make the song in Mohanam’
Not an issue at all as long as they don’t start crediting the creator for imaginatively handling Mohanam in that song when the composer perhaps didn’t even know about the scale. There’s an expertise/creativity difference between somebody toying with Mohanam wantedly and changing its texture versus somebody composing a pleasing tune instinctively that just happened to be in that scale. There’s already a post here in the comments section where somebody has lamented how people have not understood the “depth” in anbe sivam thanks to Kamal. I wonder, if instead of Kamal, say an Arjun or Sarath Kumar had been in Anbe Sivam would it prompt such a response. After all, the director is C.Sundar.
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vijay
August 9, 2021
“Before I saw this interview, it quite didn’t strike me to notice this green line behind her’
Deepika, and so? what does this change for you about the movie? I assume you have already seen the movie long back and this was a much later discovery
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vijay
August 9, 2021
to add to my earlier comment, I try to read more into it when the literal does’nt provide all the answers. Like “No country for Old men” ‘s theme and ending scenes. Literally taken, the freak accident Javier Bardem’s character has at the end of the film makes no sense. It’s as random as it gets, so it gets you thinking, as to why it was placed there and what the director is hinting at. I don’t feel that necessity for a lot of our films, especially mainstream Tamil films. Even offbeat ones. Take Balu Mahendra’s Veedu. It’s an affecting film, no doubt. Offfbeat. Maybe even award-bait as some may say. But even there, what you see is what you get. No need to read anything more into it, at least for me
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Madan
August 9, 2021
Re MSV and Mohanam, a song is either in mohanam/mohanam-based (that is, with some phrases using notes not in the raga) or it’s not. Whether the composer did it deliberately or not doesn’t matter, it’s still ok to say MSV wrote this song in Mohanam. Let me use a different example here to make my point. Rahi Tha Main Awara is in Bb Locrian with an F natural added to it. We don’t know if MM actually knew Western modes at all, forget about intention, but however it is, he composed it in Bb Locrian.
So I don’t think this example really correlates to narrative intention of a filmmaker or writer. It’s much more hard-coated in music because there are only these seven notes along with five flats/sharps and a composition will either fit into identifiable patterns or it won’t. I have heard that there are identifiable patterns in plots too but there are still way more permutations and combinations possible when you write a story. Because one scene does not have a mathematical correlation to the next one the way notes have in music. This may not necessarily hold good in genres like hip hop but when speaking of old film music which is very melodic, it very much does.
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Deepika Santhanakrishnan
August 9, 2021
Hi @vijay, I do not have a complete answer for your questions. You are right that noticing the clothesline after watching GVM’s interview didn’t affect any of the interest I have/had for the movie.. when VTV released, we used to watch it back to back and answer quiz questions just to know who wins the game.. dialogues like ‘verethajoshinalalu’ or something like that.. it comes in VTV twice, I hadn’t noticed it back then even after watching the movie n times. Things like what is the name of Jessie’s house in VTV.. answer is Kazhupurakkal.. It hadn’t been registered in mind.. Of course, the 17 odd times I watched the movies a decade ago were purely from story’s view point.. not even the characterization. Just the stories, back then. That two people come together and at the end they part ways – types.. But watching it now to say Jessie had this constant shifting of keeping the interests of Karthik and her parents in the whole game over and above her self interests, which take a back seat, and she has to take a decision on whose interests outweigh for her.. ‘avange ena verukratha vida nee ena verukrathu better nu ninaikren’. don’t we all reason at some point when we have moral conflicts in mind.. my mom taught me not to lie, but I have heard dad talking to his boss from home stating that he is almost 5 mins away to reaching office etc., We had to reason these conflicts all along while growing up..
A decade back it was only about the story, whether what she did to Karthik was fair.. And I agree with you I didn’t find the need to have a zoom lens. But as I grew, the other aspects starting appearing. May be I was wrong in reading and am still wrong in some of the readings.. For eg., you are not using your profile to post comments.. you are commenting in the name of vijay. Given that you have mentioned ‘Vijay/Ajith’ in a couple of your comments, I am thinking maybe the name you have chosen comes from your questioning view point and it may not really be your name.. And of course, one can argue that I am utterly wrong and my idea is based on invalid assumptions. But you may argue that one doesn’t need to reveal his/her identity in this situation to answer.. it’s just another point I noted about you, in the midst of all these conversations. My interpretations has been wrong, it still is wrong and it will be wrong in the future. But why can’t I think things that are not explicit?
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vijay
August 10, 2021
Deepika, this is not about “wrong” or “right” like it is in music and ragas where it is much more objective. I am not using these adjectives here at all. At the end of the day what I wanted to understand was what provoked you to take THIS scene from THIS movie and dissect it this way. Beyond the fact that it was a youtube recommendation. and what do you aim to get out of this dissection? My understanding is(and correct me if I am wrong) film/scene appreciation usually attempts to inform the student about the creative intent behind it and how it was executed, with the actual facts present ON SCREEN. Maybe the way the frame is lit, the lighting, how it is edited etc. The way the character utters a particular piece of line. That Kamal is sitting towards the left of the frame = FACT. That he is shot that way because of his communist leanings is your or somebody else’s extrapolation. It tells me more about who YOU are, what YOU know and what YOU care for, than anything about the film itself. So readings like this are fun to read just to see everybody else’s extrapolation and how their mind thinks. But beyond that I am not sure what I should take away from all this, especially about the movie itself.
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brangan
August 10, 2021
Madan: Whether the composer did it deliberately or not doesn’t matter, it’s still ok to say MSV wrote this song in Mohanam
No, it is NOT okay to attribute intent to an author unless he himself has said so — because so much of art creation is so subconscious. That is what I am trying to say. The only thing we have is the art itself, which is like an email, say — to take basic communication theory.
The “meaning” rests not with the sender of the email but with the recipient makes of it (in art, we say “interprets it”). Whatever the sender “intended” is known only to them. All we have is the email / or the art itself, to make sense of.
Again, yet to read this piece (sorry, Deepika). But I would never attribute things to a director (unless he/she is so unique that a signature has evolvee over time). I would only attribute them to the film or music or whatever.
Why are so many people saying the NAVARASA films are bad? Why not ask, say, GVM to explain what he wanted to do and “see” the film only that way?
It does not work like that.
Of course, YMMV.
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Madan
August 10, 2021
“No, it is NOT okay to attribute intent to an author unless he himself has said so — because so much of art creation is so subconscious. ” – And I am saying that debate is completely academic and irrelevant in music because whether a song is in a raga or a mode is NOT open to interpretation. It doesn’t matter. We’re not going to learn anything from finding out whether MSV wanted to write the tune in Mohanam or it just happened (and what is called ‘subconscious’ with reference to composers who score thousands of songs is really nothing but complete mastery of music where they are able to adhere to rules and then select the ones they want to break without thinking about it). And given their sheer prolificity, they may well not be able to pinpoint after a period of time whether they did it deliberately or serendipitously.
That is not the case when it comes to a film because it is possible to interpret a scene differently from the maker’s intended interpretation (even IF the maker openly states their intention). That is because interpretation of a scene is subjective. Likewise, interpreting what a song does to you is subjective. I find Mandram Vandha to be brooding and intense but somebody I showed the song to thought it was laidback and chill. You cannot say one interpretation is less valid than the other here because it is completely subjective. But that is not the case when we are talking about the OBJECTIVE elements of a musical composition. If a song is in particular raaga, it just is. It doesn’t matter whether it was intended or not because the notes speak for themselves.
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Deepika Santhanakrishnan
August 10, 2021
@vijay, I amidst my wishes to give the correct interpretation, also agree that my readings may be not the ones intended by the creator. BR just reasoned how any (arbitrary, in the sense that what is unintended by the creator) interpretation is unhealthy. With doing these exercises over and over again and complementing it watching the interviews given by the technicians, we would come to near perfection is what I feel.
“My understanding is(and correct me if I am wrong) film/scene appreciation usually attempts to inform the student about the creative intent behind it and how it was executed ………. Maybe the way the frame is lit, the lighting, how it is edited etc. The way the character utters a particular piece of line.” –
You agree with the technical detailing like lighting, music and editing. I am extending it to screenplay and screen writing.. There is a way of film creation tool called mise-en-scene, where even the objects placed in a certain way adds implicit meanings in the frame.
And yes, it is ME or whom I spoke to, that comes upfront in this article.. But I am not a single entity, I am also what the technicians and creators of a piece write and talk about, that seeps into and make me who I am while writing this kinda articles.
Finally on the question of why this scene and why this film? – BR (whom I consider a senior and having more years of exp in appreciation) says, to quote:
“Over years, one instinctively knows which films are giving us stuff to read and which ones aren’t”
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H. Prasanna
August 10, 2021
I love running away interpreting stuff. This was a good read. Thank you, Deepika.
My two cents
Aras knocks down the tea offered by Nalla and rushes to see the boy. He does not want the comfort anymore and wants to see what he is avoiding. He finally is ready to “know”.
Understanding that Aras just wants to vent, Nalla sits almost behind him instead of standing in front. He is letting him vent until he is ready to face Nalla for a response.
We see the whole face of Aras, which is conventionally thought of as easy to look at, and the injured side of Nalla, which is conventionally thought of as “difficult to see”, including Aras.
When Nalla says he believes in a God, Aras turns around, surprised, now Aras is ready to see only Nalla’s injured face as when he faced the dead child after a few moments of denial.
Then, we get a shot of Nalla’s “easy to see” or God side, after we have processed that both sides are in fact God sides. Aras now finds it natural to see the injured side, now “knowing” the “God” part of themselves.
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Deepika Santhanakrishnan
August 10, 2021
More on how exactly I chose this scene: One or two things appear to you in the first sight, which are similar to what you already know.. Once you see that, then you re-watch and re-re-watch the same scene in 0.5 speed and tada! things start appearing to you..
If I tell you that in the beach scene in OK Kanmani:
in contrast to the first 1 minute of the video, the next 30 seconds of the video has more vibrance and it is reflected in the way the water surrounding the couples is, it may sound preposterous. But I thought so by reading a book on the filmography of Mani Ratnam.. To requote myself: “…., our analyses could be wrong, but to call it baseless – is debatable.”
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Deepika Santhanakrishnan
August 10, 2021
https://www.youtube.com/watch?v=hHsXbu2E5Xg –
this is poove vai pesum song from 12B. Note that in the end of the song, between 5:40 and 5:45, out of the people standing in the background, in the center forming a bridge-like between simran and shyam, is the same person in the movie who wished and took mild steps in bringing together simran and shyam.. It may not be the intended reason, may be the placement of people in the background is arbitrary.. But I will not stop myself from interpreting this way. This is not a Mani Ratnam or a Kamal movie..
These are implicit things in the framing of the scene, in the larger interests of the movie and its story.
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Deepika Santhanakrishnan
August 10, 2021
One last point from me @vijay, I mentioned about the goats at 0:14, right? About how they naturally extend the scenes from the previous shots to permeate into the current shot.. Its similar to something called the L-cut in audio editing.. where, music from the previous shot permeate into the current shot and serves like a ramp where the feelings transcend.. Since I knew about L-cut in editing (audio), I could sense this here.
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Karthik
August 10, 2021
Deepika That was a nice analysis.
vijay I dont know why Deepika chose this particular scene. Any scene creates an effect on the viewer– it could be exhilirating or it could be irritating. That effect could be a consequence of the way an actor delivered a line, it could be because of the way a frame is lit, the music, or (the most likely reason) its a combination of all of the above and more. Part of decoding a scene is to look at each individual choice that the filmmaker has made– like the truck passing and its bumpy ride that Deepika has chosen here– and try to draw a connection as to how that choice contributed to the scene and, by consequence, its effect on you. Were the truck not present in the scene, Deepika or me or anyone else may have felt slightly differently. It might not be possible to articulate exactly how differently we felt but delving into these choices is one way of understanding that. I have certainly found that this enhances my appreciation of the scene.
Yes, this type of analysis does say something (or even a lot) about the person doing it. For me, thats really a key point. At the end of the day, I am watching a scene, and its created some effect (tiny or terrific) on ME, and the answer to why I feel this way is partly in the scene and partly in me.
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Vidya R
August 13, 2021
I’m only reminded of the joke – ennangada … tea ah vida cup-u sooda irukku.
Naama ipdikaa povom.
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MumbaiRamki
August 16, 2021
Nicely done Deepika – although few of them didn’t strike a chord with me in the way I would have interpreted, I quite liked how you enjoyed the process and painstakingly decoded things. It doesn’t matter whether the director actually intended, as far as we enjoy the process organically, it should be cool ! Keep pouring in!!
To me , the global represents his previous self of Aras- that Ad man who was global but not local which was closer to him ( in his hands) and by throwing that away in water he washes that away.
Crow is an interesting observation – is there an mythological element – like I remember crow used to represent our ancestors ( as a belief ) and may be felt that association with death. or may be it resembled the sound of chaos inside the ambulance.
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golmes21
August 16, 2021
@MumbaiRamki: Yes, the globe ball analogy hits rather strong on me.. About the crow though, hmm, I accept the analogy with the chaos in the ambulance more that the relation to ancestors.. May be personal preference.. Great, MR! 🙂
And yes, I will keep pouring in! 🙂
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vijay
September 15, 2021
sorry for the late response..BR your music analogy doesn’t quite cut it here. A song is either in a raga or isn’t. That way music is a lot more objective. And if I happen to review the song maybe I will say “it’s a beautiful song in Mohanam” (which is a fact BTW) rather than saying “MSV has composed a beautiful song in Mohanam”.
Which is hardly the case with film dissection here. The only fact is that the crow was flying. Rest everything else is Deepika’s extrapolation. Which is fine, it is her reading. But it is just a subjective reading at the end of the day. and shouldn’t end up subtly hinting as if the movie had such depth and a lot of thinking behind it and the rest of the audience somehow failed to get it. (Read the first line of the first comment by Naveen to understand what I am talking about, this is how certain film snobs(and critics) roll).
After reading a piece like this I may applaud the dissector here for doing some good forensic work on the film but I will not applaud Kamal or C Sundar and even the movie itself doesn’t get any extra plaudits from me.
On a different note I am wondering,indha padathukke ivlo analysisna,, ungala ellam ‘2001 space Odyssey’ ‘ Mulholland Drive’ maari paadatha ellam paaka utta….:-) Deepika may end up writing a de-coding book on these films.
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Deepika
September 15, 2021
All I wish is – you had also included the title track of Persona (https://www.imdb.com/title/tt0060827/) in your list 😅
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Deepika
September 15, 2021
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