The Killing.. Shining.. Thrilling.

Shining Stanley.. Killing Kubrick [ What a sensational title :) ]

If it can be written, or thought, it can be filmed. - Stanley Kubrick

The Killing/1956/Action-thriller
Photographed and directed by : Stanley Kubrick.

To introduce Stanley Kubrick [ SK ], Quentin Tarantino is a great fan of SK [ Suththam :) ]. The killing is a film about a big plan connected with a busy race-track on a specific day.. An ex criminal released from the jail plans for a big-time heist with picking up people of various occupations with one need in life - money. A group of different personalities are formed without revealing their exact part. An ex criminal, his old friend, a bar tender, a counter officer, corrupted policeman, shooter and a wrestler [ and a gravel-voiced narrator - may be thought as GOD ! ]. Confusing right ? Definitely not when you see the final outcome of their plan. They form a time-table for the heist and what happens exactly is the film is all about. Of course, fate and morality are to be considered. :)

The film begins from the very first scene and the intelligence n non-linear narration keeps the audience busy in who's doing what and why ? The narration is just like joining various jigsaw puzzles to form the complete picture. Somewhere I read that 35 different segments happen together to form the final act.

It starts slowly with a hose race and haunting theme music. The narration talks about different timings of the day and happenings with respect to the characters. The drawback in non-linear narration is that shots are overlapped and repeated [ remember Virumandi ! ] but the top intelligent director gives a different meaning every time he repeats or overlaps a shot/scene. The non-linear structure makes the film more interesting. The hidden element of the movie is fate.

A must watch thriller which is 53 years old. It's listed in AOL's top 25 thrillers [ that's how I selected this movie.]
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Shining/1980/Supernatural thriller [based on Stephen King's novel ]
Directed by : Stanley Kubrick.

"I am interested in giving my audience a real scare" - Stanley Kubrick

The psychology of horror film is not to show the ugly ghost, rather making the audience to anticipate it. The anxiety is the exact feeling about seeing a horror genre of films. I would simply say SHINING is the mother of all horror movies.


This movie is not the worst clichéd style of horror movies where in 4 pairs [ exactly :) ] go to a beach resort and getting killed one by one. Non-sense. Instead, an abandoned hotel with just 3 characters, is used as the centre point of the film.

Plot :

The film talks about the happenings of a story writer, Jack Torrance (Jack Nicholson - his eye brows and vague smile adds value to his character ). He gets an offer to work as the winter caretaker at a hotel which gets almost abandoned by heavy snowfall in the winter season. Jack reaches the hotel with his wife and son Danny [ 6 yrs old ]. During the closing day [ beginning for the audience :) ], the psychic hotel chef identifies something unusual with Jack's son Danny. Danny has the ability to detect ghostly presences in the hotel. The chef calls this talent as "SHINING". Once the hotel becomes snowbound, Jack is occupied by the ghosts in the hotel and then the story begins :)

Brilliant story. Abandoned hotel.. Heavy snowfall.. [ No difference between day n nights ! ]. The film starts with an aerial shot of Jack driving in a small car to reach the hotel. The most important element in horror film is the music. The visual has to be backed up with appropriate n haunting score. Stanley Kubrick is the pioneer in using the steadicam in the film industry. A technology has to be used to enhance the story telling and improve the visuals. I couldn't resist recollecting the irritating time-slice cut used by Shankar in BOYS and 360 degree rotating shots in Vettaiyaadu vilayaadu [ Enna Kodumainga ! ].

Stanley Kubrick is an essential film maker in the film history. His other works are

2001 : A space odyssey
Spartacus
Clockwork orange
Eyes wide shut

I am yet to watch the above list.

-Toto.

Uthirip Pookall - Bloomed only once !

"If I get anywhere near what Mahendran sir did in Uthirip pookkall, I’ll be a happy man."
- Director Manirathnam.

There are 2 types of directors. Director and director of directors. Tamil film industry possesses the richest chain of great directors. There are few who are predominantly portrayed in this category, starting from Sridhar to Ameer. Mahendran is one such GEM in the industry.

If literary works are properly used, it will turn into fine cinema. Uthirip pookkall is one such great example. Mahendran read the [ only ] short-novel of Pudumaipithan - Sitrannai and fascinated towards the children Raja and kunju. He then developed them into his own version of film. Mahendran had earlier worked with 28 different projects starting from his first movie 'Naam moovar' [ Story writer ]. This includes Thangap padakkam, Kali, adu puli attam etc., The 29th project is Mullum Malarum produced by Venu Chettiar of Anandi films, which was a grand success and fed fresh air in Tamil cinema. Mahendran worked initially in Thuglak for 3 years, writing cinema reviews in the section 'Post mortem' - a good friend of Cho.

This film is all about people, their nature, feelings and stubbornness in their stand. I admire the way the characters are etched, visual narration of story. He wrote pages of dialogues when he was a story writer and when started his direction career he implemented visual narration with bare minimum dialogues. To add, he was accompanied by the top talent of those times Ashokkumar, b.Lenin and Ilaiyaraja.

Uthirip Pookkall - Drama/1979/Tamil

Produced,written & Directed by : Mahendran.

Music : Ilaiyaraja

Cinematography : Ashokkumar

Plot :

Sundara vadivelu [ Vijayan as Su.va. ] is a rough natured school correspondent who has his physically weak and soft spoken wife Lakshmi and 2 kids Raja & Bhavani. Lakshmi's sister Shenbagam and their father live in the same village. Lakshmi's father owes a big sum to Su.Va. Also, Su.Va has an eye on Shenbagam. The entire village is unhappy with Su.Va's behaviour.

Prakash, a new teacher arrives to the village and later harassed by Su.Va. Prakash develops love with Shenbagam. Meanwhile, Sarath and his wife Premi, come to the same village to work in the health centre. Sarath is an old neighbor of Lakshmi [ before her marriage ] and even he proposes his wish to marry her, to her father. But it was late then as she was engaged with Su.Va. Su.Va. approaches his father-in-law for getting his second marriage with Shenbagam. Every one opposes this atrocious decision. He doubts his wife's relation with Sarath and keeps her separated. Sarath, feeling guilty for this, leaves the village.

The village people raise strongly against him this time but Su.Va. cares nobody.With his mother's support, he marries another girl from the next village. Prakash gets the permission from Shenbagam's father for their marriage. Meanwhile, something happens and that leads to the finest climax ever shot in Tamil films.

View :

- Mahendran meticulously developed his characters so that they look unique and stubborn till the end of the story. Even the local barber Samikannu has got one of the finest supporting character roles. Nobody looses their character in the flow of the story. Mahendran was so courteous to offer a sum to Pudhumai pithan's family though he was just inspired by the work.

- The film starts with the flutes music in title and a cliched folk song of IR [ Sentiment Sithravadhai :) GAmaran did the damaging lyrics]. The story starts from the health officer Sarath and the teacher Prakash reaching the village.

- Watch out for the brilliant and villainous performance of K.Vijayan. Though he delivers rationed dialogues, his looks and grim face expresses a lot more about what he thinks. He is one of the best villains portrayed in Dhoti/Jibba/Shirt [ My other favorites are G.Umapathy in agni Natchathiram and Thilagan in Chathriyan ]. Each and every word uttered by Vijayan carries his thoughts. His introduction shows his complete character [ Ennaya sattai pottirukke.. Cinemakaran maadiri ! ]. Sparkling dialogues and close expressions showing his complex, anger and vengance.

- Aswini as Lakshmi. The way Mahendran selected her was interesting. Mahendran was looking for Lakhmi's role and his friend in Bangalore was in a loss that time with a movie produced using Aswini as heroine. That sad face fascinated Mahendran and his Bangalore friend begged him not to use her as she is considered bad, sentimentally. Mahendran was adamant and he succeeded in finding the first homely lady portrayal in Tamil cinema [ even Shoba has the traces of cinema ]. Grim looked, rarely smiling and emotionally packed Aswini's performance was a major element in this movie.

- I can't easily leave other characters as just 'others' [ matrum palar ! ]. Chaaruhasan [ first film ], Sundar, Madhumalini, Charulatha, Master Raja, Baby Anju, Samikannu, Bhoopathy, Sarathbabu, Premi, Vijayan's mother [ few of them are from Kannada industry ] - every one of them was utilised fully. I was touched by the performance of the barber Samikannu and his dialogue 'Naan ambattanaa porandhadhu en paavamyaa' with tears in his eyes. The movie has fewer dialogues but they are as sharp as paper cutter. Charuhasan says after hearing the 2nd marriage proposal from Vijayan .. 'Naan nalla thagappanaa irukken.. brokeraa illai'.

- There's a scene where Prakash swims easily in the river and warned by the assistant of Su.Va. that periyavar doesn't like anybody swimming as he doesn't know swimming. This was used in the later part of the movie. In another scene, Su.Va warns Prakash not to roam behind Shenbagam. He asks Prakash to drink the tea before the dialogues and once he conveys his thoughts, he'll ask Prakash to keep the tea and go back to class.

- To convey his 2nd marriage thought to his wife, Vijayan does some unusual stuffs like buying flowers to her, taking her to cinema and hotel. She eagerly walks out and sees the sky. The director conveys the same with the local barber uttering the dialog 'Amma sandhoshamaa irukaanga.. Innaiku mazhai vara pogudhu'. Azhagiya kanne music is used in that situation and IR rules.

- There's fight scene between Sarath and Vijayan. Vijayan turns furiously towards Sarath and the visuals are shown for strong wind, furious river. The next shot shows Sarath washing his bloody lip in the river water and he collects his glasses/foot wear scattered in the bank. I really wonder the shock Mahendran created among the so called unrealistic fight sequences in Tamil films. ச‌ண்டையைக் கூட‌ க‌விதையா சொல்லி இருப்பார்.

- IR needs a special mention not only for the brilliant composition of 'Azhagiya Kanne' [ HINDU once mentioned this song as Monalisa of music :) ] but also his themes for various characters and sequences. He bridges the silences of the characters and audience with his music. He aptly uses the Azhagiya Kanne music in apt situations. Kannadasan wrote the stupendous lyrics and the song summarizes the entire story.

- Though Vijayan is shown as a villain, he has a soft corner for his kids. The dialogues he talk to his kids at the end was a disturbing one. The end title credit shows what is actually meant in the film title.

- B.Lenin [ his first film ] needs a special mention for his commitment in uplifting the goodness of a story teller. Before the first saranam of Azhagiya song, there's a flute music used where a flock of sheep is shown as visual - After that group of violins emerge and in parallel a single sheep jumps out in sync with the music. The editor described that piece of sync was appreciated in his editing. VT Vijayan assisted Lenin in this movie.

- Have you ever wondered when title card say 'DESIGNS : BHARANI' ? For example, before this film's release, the poster had a photo of aswini sadly sitting sadly with her 2 kids. This design promoted the movie as an unusual film and gave a good identity to the work. The same Bharani later spoiled the work called 'Johnny'. Though Johnny was a music based film, the promotions made the posters with Rajini angrily diving with an umbrella with multiple images in colours [ remember that ??!! ] - the poster set that it was an action film and Johnny suffered because of this. Mahendran told this. [ Dei.. Unaku mattum eppadaa sonnaru :) ].

- Mahendran was introduced as assistant director to kasilingam in Kanchi Thalaivan film by MGR. MGR watched Uthirip pookkall and became emotional, it seems. He said to Mahendran that 'I'll sleep peacefully today' which meant a lot to Mahendran.

Conclusion.

Director Vasanth [ though I don't admire him ] said he would filter 1 in 1000, 1 in 100, 1 in 25, 1 in 10 and finally just 1 best Tamil film and that is Uthirip pookkall. The impact it made on Tamil directors and writers was tremendous. The same year 1979 opened the gate for Balu mahendra for Azhiyadha kolangall, his first Tamil venture.

Uthirip pookkall is highly considered par with any of the best films made in the wolrd cinema [ except the 2 junk songs in female voices .. poda poda bokkai and one more SPSailaja song ].

Mahendran once quoted that 'Even if I try out again, I can't reproduce what I have achieved in Uthirip pookkall'. Great ! I salute this 30 years old n fantastic film.

-Toto.

25th BLOG :)

Friends.. Thanks for the sparkling n cheerful responses and support. I ve reached 25th blog !

Coming soon.

"If I get anywhere near what HE did in this Tamil film, I’ll be a happy man."

- Director Manirathnam.

-Toto.

Adadaa vaa asathalaam - New good songs

1. Oru Vetkam varudhe
Film : Pasanga
Singers : Naresh Iyer/Shreya Goshal
MD : James Vasanthan

The song starts with the James's choir brand [:) ] and flows fluidly. The song slightly touches the humming in thendral vandhu ennai thodum song [ Tharadhath tharadhaa ] and Hishaisi's piano from Kikujiro [ Nallaa dhanadaa irundhe ! ]. The voices are fantastic in this song. I admire lyrics of Thamarai - a true n fabulous KAVITHAAYINI in Tamil cinema.

The picturisation was done extremely well so that you feel the rain when you see that song in theatre. The heroine got beautiful... [ irungappaa varen :) ] eyebrows. Mannil indha kaadhal song got a line called 'Villeriyum puruvam' - this heroine Vega got that.

http://www.youtube.com/watch?v=qpncS6zECB0

2. Leysaa parakudhu
Film : Vennila Kabadi kuzhu
Singers : Karthik-Chinmayi
MD : V.Selvaganesh

Remember the old song 'Meham karukudhu.. mazhai vara paakudhu' from Anandha Ragam, Sivakumar movie. This song resembles that tune but the lines are as cute as Saranya Mohan [ Ennaikaavadhu hero pathi pesi irukkiyaa nee :) ]. The songs uses a melody base and the instrument gatam .. U know why.. yes.. The MD is the son of Vikku Vinayak ram. The other gatam based song is 'Narumugaiye' from the classic IRUVAR. I heard Chinmayi after a long time.

http://www.youtube.com/watch?v=dEdErZbwKpo

3. Adadaa vaa asathalaam
Film : Sarvam
Singers : Ilayaraja, Andria
MD : Yuvan Shankar Raja

What a song ! One need to hear this in a high end music system. A peppy number from IR voice. Thank God he stopped those extremely sad graveyard numbers. The voice of Andria resembles Destiny's child [ song : Jumpin Jumpin ]. It's short song and the flute bit is spectacular. All said and done, I love this song very much. It's long time since IR sang some peppy number. I like IR's punnagaiyil minsaaram from Bharathan.

http://www.youtube.com/watch?v=7eQbVPkRawQ

4. Sirugugall
Film : Sarvam
Singers : Javeed ali, Madhushree
MD : Yuvan Shankar Raja

It's a simple number from YSR. Javeed ali uses his high pitch to elevate the song and as usual Madhusree is talking something [ Konjal :) ].

http://www.youtube.com/watch?v=7eQbVPkRawQ

5. Un perai sollum

Film : Angaadi theru
Singers : Suresh Iyer [ Yaarmaa nee ! ], Shreya Goshal.
MD : GV Prakashkumar.

A folk like melody n good number from GV Prakashkumar with simple beat, flute and violin. Nice to hear.

http://www.youtube.com/watch?v=4SxKycFX1wU&feature=PlayList&p=87765323C13C645B&playnext=1&playnext_from=PL&index=9

-Toto.

Nuovo Cinema Paradiso - My hometown theatres.

I wanted to rebuild what the cinema hall used to be once; a sacred place where people used to know each other, to spend time together, to smile, and dream - Director Giuseppe Tornatore.

I started watching films in my school days at an above average level. I watch any kind of cinema starting from Telugu dubbing Chiranjeevi movies, MRRAdha's classic 'Rathak kaneer' to 'Schindlers list'. But I had the passion to watch them in theatres alone. I watch DVDs with a heavy heart that I could have enjoyed them much in theatre.

Once I remember my father dragged me out of Tamil exam in 4th standard to watch 'Salangai Oli' in Muralikrishna. My mother took me to 'Sakalakala vallavan' twice. Obviously, when I watched 'Cinema Paradiso', I just easily fixed me in that character where the boy's life is just made up of cinemas, he watched.

The other thing is friendship with a father-like senior [ Like paruthi veeran ] and this film deals with that bonding between a 6 yr old boy Toto and his father-like friend Alfredo.

Nuovo cinema paradiso [ New Cinema paradiso ] 1988/Drama/Italy

Music : Ennio Morricone

Written & Directed by : Giuseppe Tornatore.

Plot

The famous Italian director Salvatore gets a call from his mother with a news. He neither called his mother nor visited her for 30 years. But the message takes him back to his hometown. With that his childhood story comes in flashback.

6 years old Toto [ nick name of Salvatore ] helps the local pastor in the church and very passionate about movies. The small town has only one theatre called 'Cinema Paradiso'. He develops with a middle aged theatre projectionist Alfredo. Though Alfredo initially rejects him in the projection room, due to a deal he allows him to work with him in free time. They develop a strong bonding over the time and due to an issue, a new cinema paradiso is built with Toto as the projectionist. The story then flows with the adult Toto.

Toto falls in love with Elena in college and tries to develop the relation. Alfredo doesn't want Toto to fall in love and end his life in the small town. Somehow, the love doesn't become successful and they are separated. Alfredo strongly advices Toto to leave the town and never ever come back for any reasons to pursue his career. Meanwhile, Toto learns to shoot amateur videos.

The 3rd part of the story is the old Toto visiting his home town and spending time with his mother. Toto also finds Elena in the same town and they meet once to talk about their past. Alfredo's wife gives a parcel and film reel as a gift from Alfredo. Toto watches the reel in his personal projection theatre and runs with tears. He watches the best in that cinema reel which he was passionate in his childhood.

View

- As any good cinema, this starts from the first shot as you see 'FRANCO CRISTALDI PRESENTA'. The mesmerising piano + violin music prepares the audience to just attach with the story. As a good narration the movie starts with a flashback, where the movie director rewinds his childhood days in his native.

- The very first scene explains the characters that are introduced. The kid is introduced sleeping in a prayer session where he is supposed to help the pastor. A clever n mischievous boy who is enormously interested in cinema.

- Ennio Morricone needs a special mention for his sparkling score for this movie. He was involved in the movie right from the scripting phase and hence he lived with the story. That is proven in the music. One of the best theme music and soundtracks, in my collection.

- Editing games - Every scene connects with the next scene in a poetic manner.. For ex., The lightning in the first scene changes into the sunlight in the church, the scale blows by a teacher change into the leveling of film reel, small church bell turning into big school bell.. Even when Toto's mother cries about her husband, the boy is attracted towards a cinema poster.

- Alfredo - A perfect father who is tough in outlook but so soft in nature. He advices Toto not to enter projection operator job but wit a ideal he teaches him. His dialogues are almost made up of cinema dialogues as he watches every film almost 100 times.

- The scene where Alfredo talks to Toto was a fantastic piece. Go away and never come back to this town. This is an important dialog to a person who lives in a small town [ Remember the same dialog in 'Men of Honour' for Crawl Basheer from his father.. The intention is not to make the junior to suffer the same as they did in life ].I could understand the reality by being coming from a little town. Little town takes out the energy. The relation between Alfredo and Toto was amazing. A fatherless kid and a childless projectionist.

- The first love is of course shown as just an attraction at the first sight. The girl is not so attractive in this movie, I guess [ otherwise I would have written 2 paragraphs about her :) ].

- The best scene is after 30 years Toto tries to contact his ex lover and the conversation is shown in a single shot.. Zoom in shows the Toto in a public booth and zoom out shows Elena in a silhouette in her window.

- The dialog between Toto's mother and him after 30 years was a touching one.

- Cinema hall - It's a part of the people from that Sicily town.I couldn't resist thinking about my hometown theatres. I am one of the freaks who couldn't digest cinema theatres changing into malls and marriage halls. My hometown got only one theatre now. :( . The various characters in the movie are excellently portrayed including the theatre owner, pastor, his assistant, a prostitute and whom not.

- The morning school and the forenoon school shots are a beautifully communicated with a noisy children crowd and a silent horse walk.

- The adult Toto tries to impress Elena and the dialogues are nice. Also, the scene which old Toto meets Elena was poetic.

- Most of the dialogues uttered by Alfredo are from old movies and his life style was depicted neatly in the film. He heats his lunch in the old projection light box :)

- The cinema hall itself is a character in this movie. The stages it come across and it's end. I attach with the great theatres that were demolished in my time. [ ex : Ananda theatre in Pondicherry :( ].

Conclusion

I am fortunate to see the directors cut [ 173 mins ] of this movie - it was a treat to watch. I wondered how an Italian cinema has the traces of my childhood. I used to play marbles [ Goli ] in exchange for film stripes and marbles too.. [ Rajini films were costly :) ]

By seeing the cut films Toto adds the dialogue to that and also he collects those films in a box. I see myself in that character and hence my name :) .

- Toto.

Kadhal - Film in a song's budget

ஒரு ந‌ல்ல‌ திரைப்ப‌ட‌ம் முடிந்த‌வுட‌ன் துவ‌ங்குகிற‌து ‍ ‍‍: ஒளிப்ப‌திவாள‌ர் செழிய‌ன்.

Do you know why Tamil kings built temple ? [ Review-la engadaa King-um Temple-um :) ] One Discovery channel video of South Indian temples stated that Kings built temple to repent their sins of killing 1000s of people in the name of war and thus avoiding reincarnation. Shankar repented his sins of making stereotyped robin hood movies by producing his films under S pictures. [ eppadiyo join pannite :) ]. Kadhal was produced in a budget, where normally Shankar shoots a song for his films ending in 'N' :). The good thing is that he marketed the movie well.

Almost, all films in Tamil deal with love but very few unfolds the view of the parent's and the consequences of eloping away.

Film : Kadhal [ 2004 / Drama ]
Cast : Murugan, Aiswarya, Rajendran, Vellaiyan, Karattandi, Stepehen
Cinematography : Vijay Milton
Music : Joshua Sridhar
Written & Directed by : Balaji Sakthivel

Fine points

- Opening title sequences and the theme song [ Haricharan - just the words kadhal, humming and a guitar n flute ] was fabulous. Most of the camera work in the title is done as a candid work.

- Murugan asks the same question to Aiswarya in different situations to reiterate that they know about what they do.

- Watch out for the minute detailing like 'Singamle' in the Sumo of Rajendran, Aiswarya illam, wine shop, workshop, christian school.. even the director uses the lines written on the school wall, When they elope one more scooty is shown as some other pair started their love :).

- The beauty of the narration is all the faces are new and they fit just like a glove .. even with their voices. [ Enpaa.. Paapavuku oru Jigardhanda kudu..].

- The scene where the tiffin box and purse were about to meet by scooty's vibration was a good metaphor whereas the tap symbol was an ugly metaphor.

- The body language of a mechanic , school girl, wine shop owner and almost all characters were awesome.

- The montage song 'Dhandatti karuppayi' needs a special mention. I just depicts the happenings in a function happens in Madurai area. Drunk relatives, fight for a leg piece, playing cards, police officials attending the function, school friends accompanying her.. I like every inch of that song.

- The Karattandi character is new to Tamil cinema who is an assistant mechanic in the shed. Even when Murugan was about to say farewell silently, the boy pretends to get beating. When Murugan leaves, the boy runs and ends up in a confusion.. may be his work. That scene was poetic.

- Sandhya - She portrays the childish, rich school girl who happens to live between a poor lover and an affectionate family. Her brahmin friends perfectly matches a typical school friend who accompanies a gir almost everywhere.

- Joshua Sridhar.. He is one of the few debut music directors who makes an impact in the first film. The theme music is the most lovable one apart from Thottu thottu, Dhandatti karupaayi, Ivan dhaan.. The voices are fresh as flowers especially the humming of Shalini singh, Haricharan, Sruthi.

- In the first half, songs are used just like BGM and the audience don't separate them. Also, he had used western music for a Madurai backdrop film and it worked out !

- The dialect was so new to Tamil people apart from Madurai/Dindugal area [ Indhaaru... Tharsaaiyuruve ].

- I would have happier if they ended the story like the girl's father stops them while eloping, itself. Chennai segment [ 2nd half ] of the story is very weak by all means. The story looses its fine touch here.

- The story doesn't have a Villain.. How can you call a father who looses his school-going daughter eloping with a mechanic ? The father character is accompanied by an one handed brother who traces this pair. The end leaves the movie to be thought about.

- Director portrays the time along with the school [ 10th exams, practical notebook ]. The technicians Vijay Milton, N.Muthukumar put a worthy effort.

-Toto.

Visual poem - In the mood for love

தனிமை.. த‌விப்பு.. த‌ய‌க்க‌ம்

Can anyone be able to express freely to the other person honestly ? We have so many filters, we rehearse the dialog before we let it out. There are very few places that we let out whatever that comes to our mind like close friend, in prayer etc., Once Kamalhassan said that he likes the Villain character in any story because he is honest - if he wants to rape a girl, he does it straight forward :). We the normal people hesitate, oscillate, falter, boggle.. at least within ourselves before we express out. This film is about those minute emotions.

Have you heard of the song 'Oru naalil vaazhkkai' in Pudhupettai ? The most philosophical song that I have heard of late. That touches upon the loneliness,hesitation,unexpressed emotions of self. How about an entire movie talking about the same. A normal form of cinema deals much with the story like Bhim singh films.. Another form of cinema mostly deals with the visualization of a simple story. The second form is slightly tough to get attached with. But he Wong Kar-wai made it very simple so that we understand what the characters feel about. The beauty is without dialogues and with the help of cinematography and music.

Film : In the mood for love [ Drama / 2001 / Hongkong ]

Director ; Wong Kar-wai

Music : Michael Gallaso / Umebayashi

Cinematography : Christopher Doyle [ Remember.. Rabbit proof fence ].

Plot :

The story is set in 1960s. Two couples move to adjacent apartments simultaneously. The first apartment has Tony a journalist whose wife mostly comes late or travels. "So" is the other lady who stays in the next apartment and her husband travels most of the time. She works as a secretary in a company. They are accompanied by a friendly house owner lady. Though the apartment is a lively place with people our 2 main characters don't mingle with the crowd, much. Wife of Tony and husband of 'So' don't respond to their spouses properly. Tony and 'So' hardly meet each other. they slowly come across each other in the hallway, restaurant, a rainy day.

One day they have dinner in a hotel and in their conversation they realise something. This disturbs them a lot. they slowly develop a friendship but very cautious about their limits. Tony starts writing about martial arts in the paper and So helps him. he stays in hotel for writing without any disturbance. she meets him in the hotel. Time pass on and on a rainy day Tony says to her that he is slowly loosing himself towards her and nothing good is happening. he says that she anyway cannot leave her husband and things won't change.. also he thinks that they also may end up in a relation. Hence, Tony leaves to Singapore..'So' tried to stop him but not. She weeps.

After 3 years, Tony gets a blank call from 'So' .. he realises that it is her. Tony does a confession at the end. Something happens ..

View :

- The story might look vague but the emotions it leaves us is a simple heartbreak. Director Wong doesn't much believe in script. He shoots through the year and cuts as he needs them and mostly the story is formed in the editing table and given life by cinematographer and the musician [ of curse , less dialogues ]. The true form of visual communication.

- The music makes the movie lively. Their loneliness, hesitation, sadness, compassion, unexpressed love is expressed in music. Just a cello talks to the audience instead of the characters and they use mostly slow-motion.

- Their interaction is poetic and they take their own time to interact with each other. It's not like they dash in the hallway and the next moment they sing and dance in Swiss, half-dressed.

- The story has very few characters and they are neatly used. House owner, maid, ugly friend in press, lonely manager in shipping company.

- The first lengthy conversation they make is brilliant as it reveals their personal sadness. The beauty of this cinema is they never show 'So's husband and Tony's wife. they just exist in the story, invisibly in phone / conversations.

- Some single shots express the feelings magically. An empty football ground, a boy, a foot ball from a top Angle shows the summer loneliness of a boy in Kikujiro. Similarly, Jason Bourne [ the master action hero for me ] enters New York in a ship - the shot is just shown with Statue of liberty on one side and his ship on the other side. here, Wong Kar-wai uses rain to show the loneliness. It rains heavily on the lamp post and road in the lonely street at night. Both Tony and 'So' mostly exchange silences in place of their dialogues.

- Michael Galasso, Shigeru Umebayashi and Christopher Doyle are definitely the masters who made this visual poem lovely to watch.

- The way the movie ends in Angorwat is lyrical. Just a simple beat and a cello. He talks to the hole in the temple wall and closes. A monk just observes from the top side of the temple. I admire the characterization of Tony and 'So' - the casting is perfect with actors having sympathetic faces.

Conclusion

Some movies just pass by with some questions to us. If they lived together this movie would have become one another adultery movie. But the thin line between the hesitation and the romance makes it interesting to watch.

Emotional journey of loneliness and unexpressed love.

-Toto.