What follows are a collection of tweets involving a bunch of conversations over the last 2 weeks between @dagalti and me over Navarathri (which happened on the back of a silly Sivaji vs Nagesh debate on twitter) and my thoughts on Naan Petra Selvam and Thillana Mohanambal (the italicized portions are my thoughts in this post in addition to my tweets). Kindly forgive the Tamil written in English.
@dagalti Revisited Navarathri after a long time, possibly only the second time I’m watching the film fully. Thanks to the TL, intend to revisit all Sivaji films I can lay my hands on 🙂 And what a lovely film! The plot is done away with in the premise itself with Nalina’s dad approving of her marriage through serendipity. What follows are the different dimensions of emotions. And though it studies them through Sivaji, the film is driven by Savithri (wow Nadigaiyar Thilagam Thilagam dhaan. andha therukkoothu oNNu pOdhum).
Was reminded of your post (do check it out) on Virumandi. Each episode is about one character making the other talk. How expertly APN fleshes out every story from each character by making them talk through the other character! Arputharaj speaks through Nalina. Nalina speaks through Sollava kadhai sollava after she is overwhelmed by Arputharaj’s affection (very important to service the flow of the plot that it does not happen immediately and Kannadasan sketches the story till then in the song beautifully. “avarukkendrE naan irundhEn avarillai. ingE avaLukkendrE avar irundhum avaLillai” <O–<). The drunkard speaks when he is driven to a corner by Nalina. Lovely! When Nalina meets the murattu Sivaji who is killed, Sivaji’s voice modulation at “en thambi enna seivAn?” is EXACTLY the same as “nee paduchavan aachE?” in Thevar Magan. Again, those who credit Kamal and Bharathan ought to take notes here. Kamal indeed makes a case for Sivaji when he writes “EllAm pazhaya murukku thEn.”
The details. A clutch of mirrors in a room in a brothel. Whattay! Sivaji’s sense of timing with Nagesh when he modulates with only “Saami” to the different demands of Nagesh. Would dare say Sivaji wins the battle of subtlety in an unfortunately subtle way here 🙂 Savitri’s pleasant surprise before the leper Singaram realizes that the doctor is his beneficiary, indicating she has realized. Wow! Sivaji’s portrayal of the leper. Heard an anecdote that he had a schedule for Muradan Muthu in the morning and injured his leg in a fight. He used that to service the limping leper. idhai ellAm enna nu solradhu? deivAdheenamA illa genius aa? MR Radha’s leper in Ratha Kanneer is the crude, lecherous leper. Sivaji is the rich sophisticated guy who became a leper. And we can SEE that in his body language. Again, indha padathayE muzhukka okkAndhu study paNNalAm’ngrEn.
APN’s screenplays are darn impressive. The film has a premise set up which leads it to every episode and each episode has a premise, body and a mini climax leading to the final climax. And where Anandhan and Nalina meet. yeppA! kaNNAlayE reNdu pErum pEsi koNNuduvAnga. Subtlety max dhAn adhu.
APN’s other screenplays too. Thiruvilayadal for instance. Film has a premise which leads to each viLayAttu. And each sub-episode has a premise, body and its mini-climax. Admired him. ippo madham mAri kanvart to fanboi.
It is not a movie that ‘happened’ to have 9 rasas-9 Sivajis.
The purpose of the movie is that – how many of the ‘realism-fundamentalists’ even grasp that?
Some of the characters/performances tease you – he is doing to giving fullest expression to the rasa- the actor is not servicing the character here at all. The character is a vehicle for the emotion, which the a super-actor can express. And yet, just when you thought he was in enjoyable gimmick mode- he hands it back to you:
Arputharaj with his shoulder jiggle, ‘nonsense’ and ‘Nalina’ – the way he says that is 😀 – creates the feeling of curiosity that the character is supposed to. After Savitri exits the scene – right before the sollavA song – he switches on the radio. The line ‘peNNendru boomidhanil piRandhu vittAl…’ is said. He pauses, chews on the line , repeats it ruefully. Film of tears in his eyes, his expression completely changed – he is on to something totally poignant. And at that precise moment he jiggles the shoulders and arms the same way and walks off. The hithero gimmicky gesture suddenly seems weighty.
It is like he makes you feel bad for noticing the gesture more than the man. Sivaji wasn’t caricaturing. He was showing a man with a quirk – but still a real man.
The iravinil Attam guy has a long monologue where he tells his story – curious angle for that shot. He is chewing on an apple when talking. What he is narrating is painful. But the emotion of his narration is not. It’s like he is talking about past pains that he is trying to get the better of – that’s what that night is about for him. He is mimicking the lines spoken by his wife – in a tone which is desolate but also beyond the point of caring. Superhuman acting!
Has such a ‘moment’ been created before or since in Tamil cinema. Glad you thought of the VirumAndi re-intro scene. I did too 🙂
But you see how VirumANdi is still ‘simple’ – he travels along with the emotion (which is appropriate for the movie/character). But what Sivaji is doing is even more subtle – as what the character demands at that point. Phenomenon!
@_Drunkenmunk Camera angle for that shot- slightly low and tilted up. So he would have had to crouch a bit and maintain that to be in the center of the frame when delivering all those lines – whilst still slightly swaying like a drunk.
One line where he is quoting his wife. Something on the lines…”indha veettulayE…oru moolaila irundhukkurEn <pause> ‘nga appadinnu sonnA”
An apple chewing frikking pause that communicates his distance from the emotion of what he is saying.
He was clearly having fun packing so much into moments of the film.
Nagesh-aamle…enakku innum pongi pongi varudhu 🙂
@equanimus @dagalti And regarding Navarathri, forgot to mention one point in the first tweet. The leper, when being helped by Nalina, cringes and finally moved by her goodness, exclaims that his faith in truth and humanity have been restored by her. I couldn’t help but see, maybe an unrelated, but plausible parallel to Rashomon where the priest exclaims finally that his faith in humanity has been restored to the woodcutter. While the moment is enough to engulf us there, this is more of a simple melodrama as compared to the mastery of plot merging with the moment there. But I did feel my eyes moisten a wee bit here. Possibly because of the force of Sivaji’s performance. Or I am just a sucker for well made melodrama 🙂
Naan Petra Selvam:
Sivaji in Naan Petra Selvam loses his wife who delivers a child some 1.5 hrs into the film. What was a template, dated film till then gets life here with the acting of this artiste. He wants to follow his wife to death but is stopped upon seeing his child being born beside his dead wife. The actor is in his element, but that is not all. Just when we thought the pathos cannot be enacted any better, he slaps us for underestimating him. He leaps to his wife, grabs her hair and abuses her as though he’d abuse a vile villain (you must see the scene for the amount of disrespect he brings in) for leaving him with a responsibility. He brings the coward in the character (gets caught for theft a few mins back in the film) out with such nuance that you hang your head in shame for underestimating the genius. Voila!
The sequence: Do forward to 1:37:35 and watch till 1:39:53:
Post Script: He could do this routinely in every film. There would always be a moment where he would rise above the script. A true hallmark of a great actor. Also, the initial sequences of this film have a simplified version of Thiruvilayadal’s Nakkeerar-Siva Perumaan debate on clarifying Shenbaga Pandiyan’s doubt (Naan Petra Selvam was written by APN, who directed Thiruvilayadal almost a decade later). Just that, we have Sivaji playing both Nakkeerar and Siva Peruman on stage (while he plays only a single role in the film), the filmmakers winking their eyes at us. Enjoyable. We can see Sivaji giving more effort to Nakkeerar (early on in his career, this film coming in 1956, making it rather understandable, that in an oeuvre of an extraordinary artiste, he always goes for the more challenging roles). It almost reminds us of his Socrates in Raja Rani.
@dagalti Wanted to get back yesterday itself on Thillana Mohanambal 🙂 Aside the fact that it’s a great film, it’s possible to see why.
The way the characters are etched to the way the scenes flow is one thing. But the songs are placed as a medium for the hero and heroine to communicate (even though, more importantly, they are supposed to be performing for an audience. Be it Maraindhirundhu (tuned by KVM in Shanmugapriya for Shanmugam or Nalamthaana. I loved that they could indulge with the lead pair forgetting the audiences while the song still remains on stage and is performed primarily for the audience).
Vaithy and Mohana are great characters but Shanmugam gets life only through Sivaji and it is unimaginable to see another actor do what he did, i.e. storm out of the tent kottAi in anger in Nagapattinam, come back, mumble in anger, leave again, come back again and mumble more in anger (it is enjoyable to see that he is still simmering in anger and is not finding the words and is coming back and simmering more. What an actor!), finally after slapping Mohana and realizing through the Maharaja that she is faultless and looking at his hands, first in surprise that it actually hit Mohana and immediately with disgust. Fab! Or that scene where he praises her after the “contest” in ThiruvaiyAru which you speak about. That “goppurAnE sathiyama” 😀 Or in Nalam thaana where a film of tears form upon hearing the lines “kaN pattdhAl undhan mEniyilE, puN pattadhO adhai nAn arivEn.” Wow! idhai ellaam overacting nu solra pasangala naan paathurukkEn. ennatha solla.
Sikkal’s character itself is a very beautifully etched one. Earlier, he tells Muthuraaku “enakku nalladhu kettadhu ellAm theriyum” outside Mohana’s house upon seeing Singapuram Minor. Later, he realizes what he truly knows through Mary and remarks, “naan nalladhu kettadhu edhuvumE theriyAdha oru keNathu thavaLaiyAvE irundhuttEn”. But he still doesn’t seem to learn and ends up showing his rage on Mohana in the end (even more evident when he signs the agreement not paying heed to his brother’s advice and regrets it later). A beautiful statement on the flawed human nature! Realizing your fault is one thing. But learning from it is a different kettle of fish and it takes an APN and Sivaji to bring it out with such nuance.
Manorama’s Karupaayee/Jil Jil Ramamani/Rosa Rani is also an equally fascinating character. We are given a hint that she could be close to Nagalingam in her first scene itself and when she has a tense monologue before going to save Mohana that she would not let Mohana’s life be spoiled by Nagalingam like hers, it is confirmed. She remarking to Shanmugam that the reason for her name change is because she is being hounded by Nagalingam for saving Mohana tells us that he has cut her off. But finally when she tells Mohana and Shanmugam during their wedding (after blaming Nagalingam and Shanmugam responding that he has got just desserts and is in prison), “avuga seyil lEndhu vandha piragAvudhu en kooda sagajamA irundhA seri thEn”, she suggests that she hasn’t cut him off despite all that he has subjected her to. A sorry situation to land up for an innocent character. APN-Manorama tell us pretty much Jil Jil’s life in those 4 scenes without actually showing what happened for us. That will truly stand out for me from this film. Master director!
Do read @dagalti’s blog on Thillana Mohanambal here.