Hi frnds,
We can find lot of films on this same subject. But this was the first one, which took a matter like this. Even ManiRatnam’s MounaRaagam itself was a (somewat) copy of this film.
Mahendran(Director) starts the movie 4m the very first scene itself. ie: He comes to the correct storyline without any hesitation. His Direction is the first aspect to mention. Some of them r...
His best charecterization... ie: Mohan’s very sensitive n frequently changed habits. Suhasini’s childish charecter thru’ out the film. She expresses her feelings(If she wants to curse somebody or else...) in a lonely room everytime!! Pradap pothan’s very casual char!! One more best thing is ... Even Sarath babu doesnt like his wife, he doesnt even slap her in cheek like all other films. He controls himself. And thats why he says nothing against his sister’s decisions.
Mohan’s sensitive char comes out 4m him, as if he doesnt know it... He doesnt know how to smoke. But he thought tat Suhasini speaks enthuciastically with Pradap only for his smoking style. So Mohan also trying to smoke. This scene comes in only one frame. Mahendran even didnt hav any dialogues here. Just visual scene... Wat a Direction!!!
The comedy scenes.... Sometimes looks silly.. But a OKAY type comedy... I want to quote one. vennira Aadai is running a mechanic shop. He asks somebody at the first sight... ’’How is the car’’ (If v meet somebody, v ask ’’how r u’’. But since he is a car mechanic his mind thinks like tat) Here a perfect direction also can be found along with the comedy. Even in the comedy char (Keech), Mahendran tried to portayed a person’s life who wanted to live in this world happily.
One more important thing is... Dialogues(Mahendran). Some eg:
Sarath asked Pradap to leave Suhasini n marry somebody else! For this the dialogue..
Sarath: Ivalukku 5 vayasula iruntha arivu thaan ippavum irukku.(Meaning: She now has the inteligence same as her 5 yrs of age)
Pradap: Appo, Avalai Mannichidunga(If so, Forgive her!)
Mohan is trying to ask Suhasini abt her Abortion(a romour).
Mohan: Somebody sed u got aborted one child.
Suhasini: Oh... Didnt they say I hav one children??
Mohan’s doubtful mind always thinks negatively. When Suhasini is going after the fight with Mohan in a road... we can see Pradap comes in a car, n brings her with him. But the nxt scene, she is going in a cycle. ie: Mohan’s mind thinks like tat. I dont think all got this scene in a correct perception. ’coz it lacks perception. ie: Mahendran tried to explain the scene without dialogues. Can I say its pros or cons?
Then.. Come to Photography... Tat ’’paruvame’’ song is itself enuf for the best photography, even in the early 80s.(I think the film was released on 1980) And another think, Now most of the cameraman r following this.. ie: natural lighting. When Keech is dying he took the shot in a dark room. ie: Keech’s life is going to dark.
Art direction... The film doesnt need many more gud art direction. ’coz most of the scenes in natural places. May be I dont know whether they were art director’s work r real scenes?? ’coz Mahendran will go to watever extent to get a gud piece.
Editing... The best thing I remember...
When Suhasini’s husband Pradap asks her why do u hate me? But she doesnt answer. She thinks something. Thr the editor is.. He cuts the shot... And move to the scene showing Mohan n continue with his scenes, like he looks over his wife or something. ie: Having Mohan in mind, she did answer nothing. This scene is also shown without dialogues.
One more important thing that helps the film to get into a greater extent is... Music. Isaignani Ilaiyaraja... Wat a fantastic effort by him!!
Whenever the scene is trying to change its location without notice, his music helps to combine both. Sarath comes to his x-lovers’ home, talks to her. He brings his sister together. They come back to thier home(wife’s home) And play a dumb shreds(ie: dont speak anything.. Only simbols) Then he goes to bed.. These scenes dont hav dialogues. But IR helps to combine these sequences...
When Pradap convinces Suhasini against her decision to marry Mohan... A beatiful Tabla n Veena combination. ie: Hindustani n Carnatic Cobination. Moreover saying tat She was in confused state.
When she marries Pradap, again the same Tabla n veena combination with someother insturment.. Saying tat she is in further confusion even after the marriage. Wow!!! Ilaiyaraja also directing the film??
Whenever a tune is important, , .. he uses a mild violin not to disturb the dialogue. When Pradap trying to rub Burnal on Suhasini’s hand, a verygud violin piece!!
The climax sequence... Wow... Like Johny(Mahendran’s one another movie), here also the char is running in the climax. :-) I am not going to reveal the climax. The last 5 - 7 min of climax, was handled without even a single dialogue. Only visual scenes. If thr was any, the film cud los its points. Again IR helped here to bring front the climax scene without dialogues.
Nenjathai Killathey --- Mahendran n Iliayaraja’s one another MASTER PIECE
Ok... If I am trying to write, I can say more on this movie for my lifetime... So plz watch the movie...
Ok... tata...
Regards,
Athi
B +ve
P.S: I am giving the Rating 5, since I took the time the film came. Even now also it fits for 4.