"MSV CLUB" - The Discussion Forum of MSVTimes.com
Official Website of M.S.Viswanathan - Legendary Indian Composer
 
 FAQFAQ   SearchSearch   MemberlistMemberlist   UsergroupsUsergroups   RegisterRegister 
 ProfileProfile   Log in to check your private messagesLog in to check your private messages   Log inLog in 

ALOYSIUS VINCENT-VI

 
Post new topic   Reply to topic    "MSV CLUB" - The Discussion Forum of MSVTimes.com Forum Index -> Speak to Members, Introduce Yourself, Discuss any topic of your interest, Fun, Puzzles, Riddles, Games
View previous topic :: View next topic  
Author Message
madhuraman



Joined: 11 Jun 2007
Posts: 1226
Location: navimumbai

PostPosted: Mon Mar 16, 2015 6:07 am    Post subject: ALOYSIUS VINCENT-VI Reply with quote

ALOYSIUS VINCENT –VI
As I had mentioned earlier, Vincent and Sundaram had been working in unison and this pair migrated out of Venus pictures in 1960, when Sridhar launched his movie banner Chitralaya, soon after his phenomenal success as Director in ‘Kalyanaparisu’. Still, the TF empire was in the era of B&W and Vincent repeated his innovative approach. The water-skating in ‘Thane nilavu’ was a fist of its kind in TF and the racing camera keeping pace with the skaters in the song ‘Oho endhan Baby’ was indeed ahead of times. Came ‘SumaithAngi’ where camera work stood out in the song sequences- ‘Mayakka kalakkama’ and ‘manidhan enbavan’.
‘manidhan enbavan’ was a stand out for its ‘true’ representation. Yes, the slow responsive nature of B&W film material is a strong disincentive for night shots. The then trend in cinematography for such situations was to use deep blue filters and shoot in day light to simulate night effect through dark sky and subdued highlights; the same effect in Colour was achieved through use of ND filters of higher rating say 8 or so [Neutral density filters] to artificially deepen the shadows and pale down all the colours. But, Vincent had straight away shot at night in the least required light and achieved ‘absolute’ reality much like Hollywood Cinematographers. The innumerable foot prints in the sands of Marina and the only white surfing fringes of night waves from the sea speak volumes of effort in capturing the mood at night.
Vincent’s unique work style in ‘nenjam marappadhillai’ also deserves the same adoration as the movie’s name and the title song. The core theme was recalling of events in the previous birth of the immortal love [ immortal as conceived by the screen play]; necessarily, the movie was a subject for thrill and suspense; Cinematographers settle for ‘contrasty’ lighting to enhance the element of fear in the viewers. But, A V chose to use very soft lighting and only on 2 frames, he has availed of contrast to show a ‘shaken Kalyana kumar’ as he visits his mansion of previous life. Fear elements were elevated by subdued lighting and camera movements brilliantly complemented by MSV’s re-recording which for best part was silent except for an abrupt screatch when a disturbed bat flies off across the bewildered hero’s view. SIMPLY Vincent broke the mundane lighting rule or style to fortify fear or suspense.
More to follow K.Raman Madurai
_________________
Prof. K. Raman
Mumbai
Back to top
View user's profile Send private message Send e-mail
Display posts from previous:   
Post new topic   Reply to topic    "MSV CLUB" - The Discussion Forum of MSVTimes.com Forum Index -> Speak to Members, Introduce Yourself, Discuss any topic of your interest, Fun, Puzzles, Riddles, Games All times are GMT + 5.5 Hours
Page 1 of 1

 
Jump to:  
You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot vote in polls in this forum


Powered by phpBB © 2001, 2005 phpBB Group