"MSV CLUB" - The Discussion Forum of MSVTimes.com

[madhuraman]

NENJIL ORE AALAYAM --V

Dear friends,
In our effort to study how N O A was a trend- changer by adopting Visual depiction as a clear strategy to 'touch' the audience, our present domain is CINEMATOGRAPHY AND EDITING. Any of my observations on the supremacy of cinematography may not convince the younger generation since they are in a technically advanced ambience. But, please remember that the quality of work turned by VINCENT-SUNDARAM can not be comfortably or comparably redone if any technician is made to work under the same facilities of lights, film and film processing schedules none of which had the timely support through any computer-monitored supervisions. The then films were of low ASA rating and all tricks of exposure without losing the depth of field had to be manually done without losing the luminosity values of actors and actresses whose skin tone had to be elevated by make-up and keenly balanced lighting. Over the years, Vincent- Sundaram have mastered this as could be seen from the movies they had worked for at tandem or independently.
N O A proved yet another feather on their caps though there was only a restricted scope for cinematography in a plot like N O A. Yet, in all the song sequences, cinematography has dominated in a manner as to be both effective and unobtrusive. Light-balancing has been done to such precision that the viewer does not perceive the change in shots. All close-ups done on artistes have given a higher leverage to project their fleeting expressions. Even without verbal debate, a few cut shots between Devika and Kalyanakumar brilliantly portray the emotional upsurge.
Of course , the masterpiece is the work in the somg'Sonnadhu Nee thaana- Sol sol sol en Uyirae" where artistes are firmly glued to their places and the camera does the rest for the viewer. One of the most intricate has been the shadow of Sitar, live image of Sita[Devika] and the mirror image of Venu [Muthuraman] in a swift camera positioning. Its aesthetics had a boosted impact, as it was not stupidly repeated again.
A number of other sequences of value can be seen the song sequences of "Engirundhaalum vaazhga" "Ninaippadhellam Nadandhuvittal" and "ENNA NINAITHTHU ENNAI AZHAITHTHAYO" besides in the emotion -rich climax of unveiling the statue of the Doctor. Though capable of all camera gimmicks, A V and PN S have very keenly drawn our attention to the focal point- the action. Needless to say that they have immortalized fine pieces of acting through their cinematography in N O A.

EDITING [ Mr.N.M Sankar]
NM Sankar has been an integral member of Chitraalaya team and has lent excellent support in N O A also. All the stages of introduction of a new character in the movie have been precisely edited to convey the mood. This can be seen on the arrival of doctor's mother and also when Devika comes into Doctor's chamber. In all emotion-surcharged moments of
change , death of Kuttipadmini, the precariously hanging Mangala naaN of Devika and in the final moments the movie, as Kalyanakumar drops dead, a keen competition between cinematography and Editing is visible.
At all key points through the movie, every unit of movie -making vies for a place of recognition without unduly suppressing the competing elements. Every bit N OA is a marvel and a treasure house for research.
There are other unifying facets of grandeur to follow.
[To Continue]
Warm regards Prof.K.Raman Madurai.
_________________
Prof. K. Raman
Mumbai