After reading the book "CONVERSATIONS WITH MANIRATNAM" by Bharadwaj Rangan, I could strongly say that Maniratnam is probably the only Indian
director who could merge parallel and commercial cinema in a right
proportin.. Rightfrom the pallavi anupallavi, his films are unique and
stands out with hidden screenplay motifs..
The way songs were used, lightning (which started a new trend called MANIRATNAM style), short-cut dialogues became his trademark.. While directors like shankar taking 100% commercial films with hardcore message, glamour, huge sets..., manisticks to stories of relationships and human minds..
In roja, the story was not whether kashmir belongs to us or them, but a girl who struggles in an alien land for her husband.. In bombay, mani doesnt concentrate on who is wrong (hindu or muslim), but about innocent couple or public who got affected by violence..
When people like gautam makes a throughout romance with artificial elements stretching out in each frame like english speaking leads, telling "i wanna, gonna etc..", mani had few romance scenes in his works that stands out for years.. Uyire/dilse is a cult classic that was so ahead of time.. Even now, people could not understand many notes in the film, but mani tried that in 1998..
Iruvar, personally my fav.film and mani's best film as said by him elevated the level of indian cinema.. I had never seen any films that touched such a difficult genre and story.. The way kalpana (aishwarya) and senthamarai (tabu) characters etched were stunning.. It was completely a forward movie of that time..
Even in his latest RAVANAN, i could see the international theme it had.. People could not bear the concept in film which they heard in epics for eras.. Mani brilliantly brought out an illegal desire in veera with no shades of vulgarity but with essential erotic flavour.. I always wonder when people could see kalasala and all those ultrasexual songs with utter useless lyrics, why did they denied this.. It shows the fake lie cover of our people where they want to hid themselves..
Till date, the most masala hero RAJINIKANTH had one of his few good films with mani (thalabathy).. The classical NAYAKAN (as said by ppl godfather inspiration but entered best 100 films by TIME magazine along with godfather)emerged as a landmark film with kamal..
We can bet that gautam, shankar, dharani will never have an idea of touching something even half to that of anjali, kannathil muthamital or iruvar.. And finally, this book proved me that mani is not old fashioned but people here are old fashioned.. He is not out dated but people feel themselves happy with ballelakka type cinemas.. With a great dream about how he is sculpturing KADAL, i can call MANIRATNAM - a veteran, visionary and winner.
The way songs were used, lightning (which started a new trend called MANIRATNAM style), short-cut dialogues became his trademark.. While directors like shankar taking 100% commercial films with hardcore message, glamour, huge sets..., manisticks to stories of relationships and human minds..
In roja, the story was not whether kashmir belongs to us or them, but a girl who struggles in an alien land for her husband.. In bombay, mani doesnt concentrate on who is wrong (hindu or muslim), but about innocent couple or public who got affected by violence..
When people like gautam makes a throughout romance with artificial elements stretching out in each frame like english speaking leads, telling "i wanna, gonna etc..", mani had few romance scenes in his works that stands out for years.. Uyire/dilse is a cult classic that was so ahead of time.. Even now, people could not understand many notes in the film, but mani tried that in 1998..
Iruvar, personally my fav.film and mani's best film as said by him elevated the level of indian cinema.. I had never seen any films that touched such a difficult genre and story.. The way kalpana (aishwarya) and senthamarai (tabu) characters etched were stunning.. It was completely a forward movie of that time..
Even in his latest RAVANAN, i could see the international theme it had.. People could not bear the concept in film which they heard in epics for eras.. Mani brilliantly brought out an illegal desire in veera with no shades of vulgarity but with essential erotic flavour.. I always wonder when people could see kalasala and all those ultrasexual songs with utter useless lyrics, why did they denied this.. It shows the fake lie cover of our people where they want to hid themselves..
Till date, the most masala hero RAJINIKANTH had one of his few good films with mani (thalabathy).. The classical NAYAKAN (as said by ppl godfather inspiration but entered best 100 films by TIME magazine along with godfather)emerged as a landmark film with kamal..
We can bet that gautam, shankar, dharani will never have an idea of touching something even half to that of anjali, kannathil muthamital or iruvar.. And finally, this book proved me that mani is not old fashioned but people here are old fashioned.. He is not out dated but people feel themselves happy with ballelakka type cinemas.. With a great dream about how he is sculpturing KADAL, i can call MANIRATNAM - a veteran, visionary and winner.
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