Shots of Mani Ratnam movies - Part 1

Mani Ratnam also known as Gopala Ratnam Subramainam is an Indian screenwriter,producer and filmmaker who is known for his works in Tamil,Telugu,Kannada and Hindi cinema. Mani Ratnam is widely credited with revolutionizing the Tamil film industry and altering the profile of Indian cinema. Although working in the mainstream medium, his films are noted for their realism, technical finesse, and craft. The Government of India honored him with the Padma Shri, acknowledging his contributions to film in 2002. He is known to be one of the best and the finest filmmakers of present times.

Despite being born into a film family, Mani Ratnam did not develop any interest towards films when he was young. Upon completion of his post graduation in management, he started his career as a consultant. He entered the film industry through the 1983 Kannada film Pallavi Anu Pallavi. The failure of his subsequent films would mean that he was left with fewer offers. However, his fifth directorial outing, Mouna Ragam (1986), established him as a leading filmmaker in Tamil cinema. He followed that with the Godfatheresque, Nayagan (1987), which is regarded as a cult film over the years. Mani Ratnam is well known for his “Political trilogy” consisting of Roja (1992), Bombay (1995), and Dil Se.. (1998). The commercial and critical success of Roja established him as a leading filmmaker in Indian cinema.

Here, i bring a series of iconic, unique and characteristic shots of Mani Ratnam movies. What I observe that he is inclined to upside-down shots or shots at reverse angles. Specially in the case of  Ok kanmani ,Kaatru Veliyidai and Yuva. So this segment of the article deals with characteristic shots of these 3 films:

Kaatru Veliyidai

Kaatru Veliyidai has to be one of the most visually sumptuous and artistic films Mani Ratnam has ever made. It talks about two people; a fighter pilot VC(Karthi) and Dr. Leela(Aditi Rao Hyadri) and their relationship over a course of time. The lighting, visuals , acting and direction is effortless. Personally i felt that this film has shades of Mausam(Storyline), Tamasha(lighting and dialogues) and Ram-Leela(cinematography and choreography), yet it has a Mani Ratnam touch to it. Those who like his films must watch this film at least once to know what a great filmmaker he is. Mani Ratnam has tried to show pain, separation , love , lust , joy, grief and relief of the lovers through colors, landscapes and various camera angles. I feel with this film, he has really calmed down and is enjoying his work; like he did when he made Iruvar, Dil Se, Roja etc. There is a lot more to see and learn in the film. Like in the song Azhagiye, Dr. Leela is using a chopstick instead of a fork to eat her noodles, only to show her progressive nature whereas VC hides his patriarchal crudeness with this sunglasses which are either black or blue. It seems that he does not want bring his inner sensitive, emotional side publicly.  He seems to be regressive and arrogant as comapared to the large-hearted Leela.

Yuva(Anjaana Anjaani song)

This song Anjaana Anjaani from the film Yuva is the celebration of life, love and happiness. Arjun(Vivek Oberoi) and Mira (Kareena Kapoor Khan) meet at the beach for the first time, only to realize that they love each other.

This song is my favorite from the film. It shows the naughtiness, excitement, flirtatiousness and joy of the youth. The choreography, cinematography also signify the same. Both the characters are strangers but the sea makes them feel familiar. They are falling for each other. The reverse angles show that their world has become upside-down as they are falling in love.

O Kadhal Kanmani( Hey Sinamika)

Hey Sinamika is beautiful score from the amazing sound-track of OK Kanmani. It has many beautiful shots and fantastic chemistry of Aadi(Dulquer Salmaan)  and Tara(Nithya Menen). They are so many wide angle shots that symbolizes their love life. It also means that the small room that they live-in is their cocoon of love and happiness. Mani Ratnam and sea are inseparable. The Sea here signifies their strong relationship. Their relationship is very much similar to that of a married couple. They don’t need anything else in life except each other’s company and love.

The lighting is fantastic. When the characters are together, a Reddish-Orange light is reflected on them, it signifies of them being together. Even in the film, when they are about to separate, the lighting in the room starts to fade away. The film is full of such metaphors.

other parts coming soon.

Anila Velidimalla