The problem is that we are used to a lot of things while watching movies, especially hindi audience. we need the directors to show us scenes to tell us how much our hero loves his mother, sister and our beautiful heroine.
we need to have lot masala stuff in the movie, we need to see at least three or four songs just to see how beautiful our leading lady is and what cloths fit her the best. And yes we need a lot of action ! like a cycle chasing a Scorpio we need all these , after all these are the ingredients of a hit movie. and these are the movies which make stars richer and more famous, these are movies only "intelligent" people like david dhawan and karan johar can only direct. But unfortunately a director who was foolish to make a movie like raavan , which doesn't have any of these elements has made a movie to tell a story in his view. and yes he has convinced me which millions other story tellers have never told. In raavan i got convinced that raavan - the dreaded villain in our great mythology was not all that bad what my mother and grandparents told me. this movie also made me to think whether there can ever be a personality with out any negative shades. this movie made me to think a lot, this is what i want in a movie. This director is the only one who can do this. he got me to look into the mind of the character and think ..... people are fools to expect build up to this character, but mani was intelligent enough to explain us everything in simple and straight description of veera by dev. People who feel that manirathnam has let down ARR's music .....watch the movie again there is music in every frame of the movie ....music has helped the narration ....songs would have stopped the narration. behene de could have been shot in so many ways with hero imagining the girl in different attires at different locations and showing lot of emotions on the face of our hero.......but watch this song again,,,it is not romantic...it is when reality hits you hard..watch the body language of beera and the eyes of him.....he falls in love with this lady but he knows she is married and we know beera is a man who respects females a lot....a song in this situation could not have pictured any better way than this. @rawat if you could not differentiate the situation of dil se and behene de i am sure you have not understood this intelligent movie made for peope who like to think....not for the people who like to dream... amar sees a girl and realizes that he is in love with her and dose not know anything about her .....and in that song mani shows the girl as a muslim, cristian and as a hindhu. amar chases this girl no matter who she is. but in this case beera knows who she is and falls in love with the shear beauty of this girl but he also dose not want to continue his emotion, watch the climax to know this again. it is very easy for any tom dick and harry to criticize a work, which is not understood. Mani rathnam is a director who has done things no other director can ever do ......that is change the perception of people..he did that with his character of deva, in thalapathy and he has now done that with his beera. the only challenge mani rathnam has to defeat is how does he convince people that movies need not all ways be entertainers but they also can be made to think ......the movies which entertain us is forgotten within days .....but the movies which makes us to think stay on in our mind forever. that is hallmark of manirathnam. bollywood movies like dil se , swades were termed as flops! but today these movies are respected a lot .....i still do not understand the mentality of the people who make a movie hit or a flop. am i sure mani rathnam is not a director who would do things keeping commercial success in mind. On Sat, Jun 19, 2010 at 10:37 AM, Gopal Srinivasan <catchg...@gmail.com>wrote: > > > There's no dearth of arm chair critics, is there? How many other Manis can > one find? > > On Tue, Nov 6, 2007 at 00:59, V S Rawat <vsra...@gmail.com> wrote: > >> On 6/19/2010 8:42 AM India Time, _Gopal Srinivasan_ wrote: >> >> > Surprisingly, AR Rahman delivers his most uninspired score in years, >> > which probably explains why Ratnam wasn't inspired enough to shoot his >> > songs as innovatively as he usually does. >> >> Another example of a critic putting the blame on wrong head. >> >> ARR's music is good, but if songs get used poorly, that is not ARR's, >> but the director's fault. >> >> SPOILERS ALERTS >> >> ARR's music appears misfit in the film, if that is what the reviewer >> meant, I agree with him. But the blame is on poor script of the film >> leading to a lack of confusion from the side of director that he >> didn't portray the characters with a certainty. In a wish to show >> changes of hearts, Mani has made a khichdi of characters and their >> personality traits, and that made the great purpose lyrics of Gulzar, >> thereby the music, become misfit. >> >> the characterisation of Beera is not shown such that he is not showing >> any class consciousness, not doing anything good for people or masses >> as such. All those long exchanges trying to prove that beera has 10 >> heads like ravan, meaning 10 personalities, fail to convince the >> viewers because we don't see beera doing things in tune with those 10 >> heads. His avenging his sister by torturing and be-arm-ing the >> runaway-groom is personal vandetta. surprising, when the to be groom >> gatecrashes the to be bride's house while marriage is going on, didn't >> you all notice all that exchange about cutting the hand that has >> touched beera's sister? then, what great new thing beera does by >> chopping the hand later on, when he could have cut the hand right >> there, so was his il-reputation? >> >> Does anyone remember Dayawan by FirozKhan, based on that smuggler's >> life? remember the scenes when Vinod KHanna was shown literally >> helping people in any many ways, and people crowding him, swarming >> him, singing praises for him. I think that was the proper display of a >> man of the "mass". Mani, in ravan, failed to depict that. >> >> And that's why Beera as well as thok de killi, along with their >> depictions of 10 faces of beera, and along with "door hai dilli" "not >> getting what we deserve, getting only crumbs", "chheen ke le le apna >> hissa", all seems falsehoods and lies just because the visuals don't >> leave any such impression on the viewers. >> >> Thok de Killi is one of the rare songs so superbly penned by Gulzar >> saab, because you all know that gulzar is a man of emotional feelings >> of heart, and is not a person for thinking brain, Gulzar has never >> written "social issue" lyrics earlier, the way Sahir used to write, >> and here, when gulzar does debut as social issue lyricist and ARR >> gives appropriate music for that, it is mani that failed to make that >> greatness of lyrics and music get reflected in the film on account of >> poor script. >> >> khili rey, was a personal song, that was shot ok with nice steps shown >> by Aish, the song in the film didn't touch the heart of viewers the >> way Humse Hai Muqabla's small singing pieces had done. Firstly, this >> song had been shown in the running, whereas the song clearly hints a >> reaction, response of blossoming of a lady on her first encounter with >> a male, but the film shows all the long vocal bed scenes of Aish and >> Dev before that. The scene had so unimaginative boring dialoge that >> that was more of a comedy effect instead of the melting of the lady - >> the way it was superbly shown in Roza when the anger of the lady leads >> to ess oh aar aar wye sorry. so, again, nobody remembers after a few >> seconds of the end of this sweet lovely song, that such a song has >> been there. Utter wastage by Mani. >> >> And Raanjha. What a superb film version. An entirely new thing, new >> concept, new style. What an effect that song created on listening and >> seeing in the visuals. great picturisation. >> >> but, again, the song is talking about a girl and guy falling in love >> with each other, whereas the film never shows Aish feeling love >> towards Beera, it was one sided sexual desire in the body of Beera >> towards aish. So, neither Beera was in love as such towards Aish (he >> just desired her physically) so he was not at par with platonic love >> of Raanjha, and Aish was no way in love with Beera or felt anything >> but hatred towards him, so Aish was outright not Heer. And that's why >> this song failed to convince viewers. An absolutely misfit song. >> >> the same goes with Behne de, such a lovely song, people are talking >> about its great picturization, but it is unconvincing to me. Remember >> Dil Se, the way Manisha keeps on manipulating Shahrukh, and Sharukh >> getting dragged towards her, well, i think something like that >> scenario was fit for behne de. but here there was no background, no >> build up, neither this 11th head of beera that loves a lady was ever >> shown, and no private exchanges happened between Beera and aish that >> would have broken through beera's rustic shell and would have gone >> into his heart. All that fearlessness of Aish I am not convinced of, >> as while she sees eyes to eyes with beera and talks openly, she still >> keeps on murmering "i don't want to die". that dialoge is a misfit for >> the personality of Aish and that again leaves viewers convinced. She >> doesn't want to die, then why does she jump all the way down the fall >> that would have killed her? why didn't make any attempt on Beera's >> life before ending her own? So, when beera appreciates the false >> fearlessness of aish, it sounded false, and thus beera falling in love >> towards aish "on this pretest" became a falsehood, and the song Behne >> de went dud. Killing this song is the deadliest sin of Mani that he >> can't be ever forgiven. >> >> and now my fav, Kata Kata. Actually, I couldn't place the chronology >> (timing) of the song in the turn of events in the film. It was >> probably the first incident in the chronology script, the film >> originated and proceeded from this scene. in his desire to draw >> inspiration from ramayan, Mani went ahead drawing parallel between >> Surpnakha's mockery and disfigurement leading to Surpnakha's bro ravan >> kidnaping seeta, Mani failed to understand and adapt the basic ethics >> of Ramayan, that it was a clash of rakshas culture in which any male >> or female can meet, talk, date, have sex with anyone he/she wishes, >> versus the rama's culture of chastity virginity and monogamy. >> >> In ramayan, it was surpnakha trying to seduce lakshan first and then >> ram, and she was dumb enough not to take their soft hints that they >> don't want to do it, so she gets angree, tries to hurt seeta, that >> leads bros disfiguring her. >> >> But the movie's Surpnakha suffered from being portrayed good. She was >> ideal sister of hindi films, and movie's ram, dev, unprovked shatters >> her life by spoiling her marriage, its background was never shown why >> and how Dev would go to such extreme, when he himself is a loving >> happily married husband, that she breaks in to the marriage ritual in >> such an ugly manner, shooting among the vast crowd of children and >> females, and further arranges that this surpnakha was the only one >> taken to police thana or somewhere where policemen rape her overnight. >> >> ye to hajmola lene ke baad bhi hajam nahi hua. If this was Dev, he was >> never ram to begin with. It became one of the dozens of person >> vandetta films that senior bachchan had played so well, and it went >> poles apart from ramayan. >> >> And while the viewer was confused realizing all these cause and >> effect, consequences, chronology of events and re-judging whom to put >> blame on, kata kata song happens. We were not ready for it. There were >> massive script transformation was taking place that we need to >> understand to appreciate the film, and we were shocked as our Mani's >> Ram being actually a ravan to begin with, and song came and went and >> we wished that it gets over soon so that the film can go on. the >> things described above happened after the song, but those were such a >> drastic about turn in the film that we quickly forgot the song and >> continued understanding the climax. >> -- >> >> It is the foolishness of Mani that is reflected everywhere in the >> film, and thus, Mani so systematically lets down a lovely work by ARR >> and Gulzar. >> >> -- >> Rawat >> >> >> ------------------------------------ >> >> >> Are you searching for a reason, to be kind? >> <b> >> Explore, Experience, Enjoy A.R.Rahman - The Man, The Music, The Magic. >> Only at arrahmanfans.com - The definitive A.R.Rahman e-community. >> >> Homepage: http://www.arrahmanfans.com >> Admin: ad...@arrahmanfans.com >> To Subscribe: arrahmanfans-subscr...@yahoogroups.com >> To Unsubscribe: arrahmanfans-unsubscr...@yahoogroups.comyahoo! Groups >> Links >> >> >> >> > > -- Truth is the only God Humanity is the only Religion Love is the only prayer
