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NENJIRUKKUM VARAI - THE TREATMENT

 
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madhuraman
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PostPosted: Sat Sep 06, 2008 7:31 am    Post subject: NENJIRUKKUM VARAI - THE TREATMENT Reply with quote

Dear Friends,
After decades when I revisit this movie , what strikes me is the way the movie-making team has aligned the sequences ,leaving most things to the viewer to understand. This has placed things on screen so that subtleties take care of viewers, based on the individuals' ability to grasp. Certainly this has been a real step grandly forward instead of making the viewer receive everything by dialogue or by an approach of "see this" by tight framing of an item or emotion. This is precisely the glorious feature of this film. BOTH THE STORY AND THE VIEWERS HAVE BEEN TREATED WITH UTMOST RESPECT. My understanding of most other movie Directors is by a reference to CVS's articulate approaches to the visual medium when they had to toil to achieve a visual impact. In N V there are several fine points that stand out as 'ahead of times' presentation.
A consortium of 'poverty-stricken' but self respecting wage earners is presented by the very modest structures and by lanes winding through huts connecting the beach line and Mount road of Chennai have been used to tell the key issues in the story. A bifurcating road junction has been used as a story propeller point to indicate that KRV segregates from Sivaji Ganesan while she later, insists on MUTHU to come on the single segment beyond the point of dichotomy. All the key players have been shown in costumes -self explanatory avoiding references to their poverty. Except VSRaghavan, all artistes speak in just enough volume as a natural behaviour among those who always require the mercy of others. Through the early part of the movie it is only VSR who has a regular employment and the rest need his favour. Possibly CVS has used this point for VSR to shout at and force Sivaji and co to pay the rent / psychologically bring pressure of public gaze on Sivaji to make the latter come round. Shouting for rent is a piece of character study of a nan who is not willing to wait to collect his dues; as the story progresses the other dimensions of VSR's character are brought out. When Sivaji and V Gopalakrishnan have money to even for a meal, VSR advises his daughter KRV to spare some food for them. Also, when Muthuraman joins Sivaji's fold the immediate response of VSR is to ascertain from Sivaji, "who is this sombaery no.3? But , he permits Muthu's staying there though the house rent arrears from Sivaji was only mounting. Another instance of VSR's magnanimity is shown; when Muthu has to get back to Bangalore for a legal settlement for his property restoration, he has no money even to buy tickets. Seeing his plight, VSR comes forward to give the money needed. Another very important treatment that safeguards the human dignity of the unemployed youth relates to VSR's attitude to them. VSR does not suspect them of any bad behaviour. On no occasion the father makes any reference or advise to K.RV to stay inside locked room. A single reference of advice to her to safeguard herself would have ruined the image of all characters.
Besides, Sivaji's unilateral 'love' for KRV and her personal confide to Sivaji of her desire to marry Muthuraman have all been portrayed in the most natural way. The treatment of such a delicate but emotionally surcharged potentialities of the situation have been elegantly handled in absolute comfort. That the ultimate catastrophe had to occur has also been presented in a balanced treatment. I shall touch upon those finer points when we consider other aspects of the movie.
Warm regards Prof.K.Raman Madurai
_________________
Prof. K. Raman
Mumbai
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