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madhuraman
Joined: 11 Jun 2007 Posts: 1226 Location: navimumbai
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Posted: Mon May 05, 2008 7:05 am Post subject: NENJIL ORE AALAYAM -- III |
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NENJIL ORE AALAYAM--- III
Dear friends,
I intend bringing out some features of this movie that justify the suggestion of New wave trends in this 1961 marvel.
SCREEN PLAY and DIALOGUE
Ironically , even on the title cards of this movie there is no mention of screen play. In those days most playwrights who developed the story would also take care of DIRECTION and were making the screenplay though it was not explicit on the title cards. Later the screenplay for movies were assigned to specialists and it necessitated their being duly acknowledged.
Naturally for N O A it was Sridhar who wrote the script , dialogues and directed the whole movie. What causes me to refer to these vital components is that by 1961 the then contemporary style was to make hefty dialogues as a means of capturing the audience. Certainly N O A is perhaps the earliest to have comfortably settled for crisp and 'to the point' dialogues even when heavy emotions were portrayed.
The screenplay deserves a special appreciation . The sequences have ben tightly arrested to a 14 day story, shot and completed in 21 days including re-recordings. The base of the story involving the lady character and her past lover -Doctor have been relegated to a 30 second flashback when the Doctor studies the X-ray record of the patient. Sridhar has thoughtfully avoided any song sequence between Devika and Kalyanakumar as it may ruin the purity of loyalty of the lady to her husband.
Enough suggestions through the screenplay and dialogues between the Doctor and his aged mother add strength to Devika's character without in the least tarnishing the image of the doctor.
Honestly, right from the days of 'Kalyana parisu' Sridhar has specialized in SIMPLICITY of dialogue. In N O A, he has employed highly refined dialogues - a knife-edge walk between the doctor and his former lady love under the doctor's mercy to save her husband from the clutches of death.
Look at these 3 instances.
After a long gap when the Doctor and Devika come face to face , Kalyanakumar begins asking about her welfare. Devika fearing that it may pave the way for their past association edits the Doctor saying
"My husband has lot of respect for You"
When Devika meets the doctor's mother, the latter wishes Devika saying
"DHEERGA AAYUSA IRUMMA' But Doctor intervenes to correct his mother to say "Dheerga Sumangaliya Irumma' and the mother spontaneously wishes so.
On the open appeal of her husband to the Doctor and Devika to enter a wedlock in the event of the husband's death, dialogue stays supreme with just a few days left for her husband's surgical treatment.
Devika tries to impress the doctor that the latter should not avail of this occasion as an opportunity to acquire his former lady love. But the Doctor is such a refined man that he has no such inklings whatsoever in his mind.
He instantly sets the record straight saying that " I promise ON YOUR VERY HIGH CHARACTER that my lone mission now is to save your husband " [The same undercurrent had already been suggested by Kannadasan's lyric Vandhadhu vandhai ThuNaiyudan vandhai ThuNaivaraikkakkum Kadamaiyum thandhaai ThooyavaLae nee vazhga"]
So to say, the crew has carefully assembled a theme to effectively convey the purity of love while refraining from succumbing to lower emotions.
All these have been done to accuracy at a time when any number of songs could have been added and later the story reversed to justify the happenings.
Sridhar very brilliantly narrated the relationships through a neat screen play in which a very limited number of characters come together and live their life as it could be.
Let us remember that breaking a path is not new to the 1980s; rather the earlier people like CVSreedhar have done it with greater conviction and elegance.
There are other facets to be admired at . Please wait. [To Continue]
Warm regards Prof.K.Raman Madurai _________________ Prof. K. Raman
Mumbai |
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msvramki
Joined: 18 Dec 2006 Posts: 418 Location: Chennai
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Posted: Mon May 05, 2008 5:50 pm Post subject: |
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Great writing, Professor.
Pl go on.
Ramki _________________ isaiyin innoru peyar thaan emmessvee. |
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S.Balaji
Joined: 10 Jan 2007 Posts: 772
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Posted: Mon May 05, 2008 5:58 pm Post subject: |
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Dear Professor
Your minute study of the epic movie really inspires me now to write about such classics . Really fascinating observation of this movie . Amazing that despite the movie is 47 years old, we still talk about it on technology , story line, making of the movie, the characterisation, music, direction, lyrics !
True, his movies carried simple conversation, decent behavioural pattern, etiquette . What a home work Chitralaya unit have done those days !
Mr. P.N.Sundaram is our family friend. I will try to get more details about his association with Mr. Sridhar and Chitralaya when I visit Chennai next.
Sir, may you pls take up the Great Sridhar's movies as case study and pls write more about his movies. |
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S.Balaji
Joined: 10 Jan 2007 Posts: 772
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Posted: Mon May 05, 2008 6:05 pm Post subject: |
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Quote: | The screenplay deserves a special appreciation . The sequences have ben tightly arrested to a 14 day story, shot and completed in 21 days including re-recordings. The base of the story involving the lady character and her past lover -Doctor have been relegated to a 30 second flashback when the Doctor studies the X-ray record of the patient. Sridhar has thoughtfully avoided any song sequence between Devika and Kalyanakumar as it may ruin the purity of loyalty of the lady to her husband. |
Quote: | So to say, the crew has carefully assembled a theme to effectively convey the purity of love while refraining from succumbing to lower emotions |
Quote: | Enough suggestions through the screenplay and dialogues between the Doctor and his aged mother add strength to Devika's character without in the least tarnishing the image of the doctor.
Honestly, right from the days of 'Kalyana parisu' Sridhar has specialized in SIMPLICITY of dialogue. In N O A, he has employed highly refined dialogues - a knife-edge walk between the doctor and his former lady love under the doctor's mercy to save her husband from the clutches of death |
Sir,
The above shows the screenplay skills & the art of characterisation ! I realize that editing was sound , sharp and I didnt find any single scene which stretches the movie. Even the lighter scenes with Nagesh were needed for audience to relax and breathe easy as the main story is very gripping.
I have seen many women weaping when the poor Kutti Padmini character dies. This adds further anxiety to audience as the Doctor involved in this case was Kalyankumar !
Sridhar also shows small characters around the hospital in the form of patients , support staff, V.S.Raghavan, Manorama , her relative Ramarao, Kalyankumar's mother all adding value to the movie. |
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Ram
Joined: 23 Oct 2006 Posts: 782
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Posted: Tue May 06, 2008 5:32 am Post subject: |
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Dear Professor,
Really amazing way to describe and narrate about one of the greatest movies of ALL TIMES- Nenjil Ore Aalayam.
Expecting more like these on many other master pieces from the Golden Era of Thamizh Films !!! |
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baroque
Joined: 15 Feb 2007 Posts: 478 Location: San jose, CA, U.S.A
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Posted: Mon May 12, 2008 6:10 am Post subject: |
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Loving your narration, observations & your thoughts on NOA as much as the Immortal movie, Sir!
love, Vinatha.
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