Showing posts with label Manoj Paramahansa. Show all posts
Showing posts with label Manoj Paramahansa. Show all posts

Saturday, January 14, 2012

Nanban is well

Pre-Nanban release:
"Shankar is a great creator. Why does he wants to do a remake when people like Jeyam Raja are there for that particular purpose already?"
"Vijay? Casted as the scientist played by Aamir? Don't joke man. It is bullshit! Surya will be the opt guy for such intellectual characters"
"When is the last time you watched a Vijay movie without making fun of him?"

Post-Nanban release:
"Shankar proves once again that he has ability to deliver a successful message sandwiched inside a boxoffice hit"
"Vijay at his best eventhough there is not a single punch dialogue or a single action sequence"
"Just like any other Vijay movie, we ended up laughing continuously for the entire time. But he is not the source this time"

Casting:
When it comes to casting Shankar has always been a forerunner on Tamil cinema. Examples like Nambiyar on Gentleman, Radhika in Jeans shows his thirdeye to cast the actors. In Nanban, a movie-goer will not think odd to see Vijay as the intellectual. And that is the victory gained for Shankar's casting and directorial genius.

Script:
Screenplay of 3 idiots is used exactly as it is. Changes in dialogues gives the regional flavour to the film. Shankar and Madhan karky does their best here.

Cinematography:
My favorite cinematographer Manoj Paramahansa has lifted the lens for Nanban. In Eeram and VTV, he had the scope to exercise his innovations. But he did a great job for a entertainer like Nanban. Visuals never felt awkward in a single roll, unlike the experience of usual remake movies.

Art:
This is one of those departments which hasn't had a great show in original 3-idiots. Being a Shankar movie, Nanban has the gigantic sets in songs. Sets erected for Asku laska and Ileana songs shows the exemplary ground work done by the art department.

Music and Audiography:
Harris Jayaraj has exceeded his expectations in all the song numbers. Hear 'En friend ah pola' song with full bass and you will know how close competitor it is to the 'Mustafa' song. His background score is weaved close to the story-flow. Oscar winner Resul Pookutty has shown his adept at the audiography. Techniques like echo and amplification are used for particular scenes where the hero intends to tell a message to the audience.

Acting:
Acting department is under the radar of some directorial genius like Shankar. He shows how to get the best out of actors like Satyaraj and Vijay. Even Jiiva does proves his skills.

Direction:
Not to mention too much about Shankar, he has carved a great flick. Successful placement of Ileana song just before the emotional climax shows his mettle to give a masala mix to any story. Asku-laska song will be a visual treat to Shankar audience where he rectifies the limitations posed by 3 idiots script on his grandiose visualisations.

Everyone in the age group of 20 - 35 would have seen 3 idiots. It is one of those rare movies with a wide audience reach. I have watched 3 idiots four times and when I watched Nanban, I neither felt bored nor I thought of Nanban as a waste remake. Even to set a benchmark in remakes, we need Shankar.
He neither made Vijay to fly nor to fight. But he made him to act. There lies the greatest success of Shankar. 

Verdict:
Nanban - A successful remake. A remake of Shankar's success.


Sunday, February 20, 2011

Nadunisi Naaygal - A brave attempt gone haywire!

Fact is that, if a movie tests your patience, it doesn't mean that it is not a quality flick. A thriller movie is one, which brings the audience to the verge of their seats, not to the exit door! Nadunisi Naaygal places itself in the latter category.
Ironically, the film posted itself with some quality technical work. Thanks to Manoj Paramahamsa and Anthony. People used to assimilate any pictorial narrative with the help of music. Even at the times of speechless movies, it is the music which compensated the dialogues. Hats off to Gautham to come up with such an idea to make a film lack of music. It is indeed a brave attempt! It is one of the riskiest moves made by the ace film-maker. When you take such an Himalayan risk, you should concentrate on the script with utmost perfection. But, this is the place where Gautham fails to make his count.
Nadunisi Naaygal is an attempt to compensate the music with visuals. Performance by Veera as the protagonist hunter and Sameera as the hunted are mind-blowing! Gautham once again proves that he is one of the rare directors who can make a boulder to act. Gautham brought the best out of Simbhu and Trisha in VTV, Jyothika as an antagonist in Pachai Kili Muthucharam, Surya in VA, Jeevan in Kaka Kaka, Daniel Balaji in Vetaiyadu Vilayadu. Similarly, he stands out as a great director, when he brings such an incredible performance from Veera Bhahu(Veera/Samar) and Sameera (Sukanya). But, as a script writer, he fails to make an impression.
Nadunisi Naaygal is a void without Manoj Paramahamsa. Such an wonderful piece of work he has done for this movie! He tried his best to make the visuals as claustrophobic as it can be and he succeeds. Most part of the script could be seen as an inspiration got from Silence of the Lambs and Sigappu Rojjakal. One who watched these two flicks can draw parallels in number of occasions with Nadunisi Naaygal. The house, dogs, brutal murders, sexual urge, childhood sexual abuse are derivations from Sigappu Rojakkal whereas, the character-map of the psychopath is a derivation from Silence of the Lambs and Fight Club.

Though I salute Gautham for coming with such an idea, the irreplaceable fact remains that 'Music is like Mother! Nothing can replace or compensate it'.
My rating will be 2.5/5.