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[madhuraman]

KAADHALIKKA NERAMILLAI -- V

Dear friends,
All of us are thoroughly aware that K N was a model movie for every one of the technical spheres of movie-making and certainly it was a feast in colour. What I wish to state here is there have been any number of Tamil movies in colour.Among those K N was of a distinct class , though done in the technologically 'not-so-advanced' era. [Let us keep in mind the fact that this was the very first venture in colour by Chitraalaya team and also for Gemini colour labs ]. Very many sequences and some frames on song sequences were simply outstanding by the sheer light balancing and angles besides vast coverage in some locales.
Captivation of the viewer begins right in the opening frame, involving Muthuraman in half profile and Kanchana in a frontal presentation.All the dance movements of Kanchana -Muthuraman have been shot in day light [of course with reflector back-ups] taking care to hold back shadows . As the heroine takes a rolling position a tight close-up of hers has been done to perfection. There has not been a better presentation of the same artiste in any other movie close-ups. Another occasion of captivation for the same artiste has been done when she calls out, "Appa -Telegram" standing ahead of a black backdrop. The commanding camera reveals its class at the end of ' Viswanathan vaelai vaeNum' - when Ravichandran acts to fall unconscious and the orchestra crew performs a mock funeral. The colour values rendered for everyone on this scene is simply amazing and is just impossible for the less proficient.
Speaking of lighting , in the same song "V Vaelai VaeNum', a charaNam line runs"Raathiri naerathil thookkathil naan oru rakshasan pol varuvaen" As PBS renders it in hollow voice tha second time [with no orchestral back-up], the indoor lighting is suddenly subdued creating nightmare in Balaiah; for the winding drum beat Balaiah reveals fear by batting the eyelid precisely matching the drumbeat. All these are shown in very subdued lighting to enhance the effect.
Another stupendous shot is in 'Anubhavam pudhumai' song. As Rajasree dances and progresses towards the glass-paned window a faint reflected image and the live figure of the artiste are brilliantly recorded. But for some excellent lighting it could not have been possible.
Two other occasions deserve being remembered for the special effect. As Muthuraman's father comes to AaLiyaar estates, the entire group leaves for a picnic to a neighbouring locale . The viewer gets the feeling that [s]he is moving in a car towards the bungalow while the on coming vehicle takes the route out. The shot is so very nicely done that , a vast scape , symmetry of the round tana , long straight road broad to take two wide-bodied cars are all beauties immortalized by Vincent-Sundaram camera work. Another brilliant piece relates to the song "Nenjaththai aLLi" . As Kanchana sings and laterally moves out from the glass house the movements are trapped in utmost elegance that qualifies for respect as poetic work.
The entire movie is rich by its cinematographic treasure. It was after this movie that Vincent-Sundaram parted company from CVS- a real sad moment since no other combination has been so very powerful or pleasant. Human minds being what they are these events need to be endured since the very persons involved would have certainly gone thorough greater moments of anguish after the separation.
[To Continue]
Warm regards Prof.K.Raman Madurai.
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Prof. K. Raman
Mumbai