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

[S.Balaji]

P.N.Sundaram is credited for ‘ Olipathivu ’ and A.Vincent ‘ Olipathivu Director ’

The first shot covers the Calendar showing Day 1 and the camera moves to a wall clock which diplays 5 pm…the camera swiftly moves backwards and now the images of Sarangapani and L.V.

I will not be overstating if I affirm that it was Mr. C.V.Sridhar who pioneered the art of visual media , dispensing with volumes of lengthy dialogues through crisp shots with telling effect. Sumaithangi is a classic example of the camera work , way ahead of times then. The movie looks colourful despite being a ‘ black and white ‘ !

Lots of trolley shots could be seen…

And some long shots too….It zooms and zeros onto Devika….the Pallavi of Endhan Parvayin kelvikku has lots of long shots beautifully covering the KRS dam and the scenic Brindavan gardens…the camera breathlessly runs along with Devika during the charnam..

The Camera moves from top angle to Muthuraman’s foot for that sensitive scene when he regretfully informs in the presence of the whole family about his loss of job…it swiftly covers the reactions of everyone and finally follows Muthu as he sits on a table in a disturbed mood….

The brightest moments are for the 2 songs Manidhan enbavan & Mayakkamaa…

Well , for Manidhan enbavan , it’s a song wherein the entire crew have professionally challenged each other ! while Gemini gives the walk and impression of a contended character who shares a very big responsibility, the mesmerizing music , the lyrics ….the camera is magnificent ….shot at night using the beach and Car lights , the Camera slowly forges ahead of Gemini while he walks casually on the inside road , a spot which Mr. Sridhar reveres !
The Camera runs from a top angle while Gemini sings …Oorukendru vaanzdha nenjam ….
That the very thought of picturising in the night itself is a very good work !

Devika converses with VSR …as she is in tears, the camera gives a watery look and when VSR talks, the camera is clear …again, Devika wipes the tears …the camera comes out crystal clear !!

Picturisation of Mayakkamma is another story by itself ! We had already covered it at length ….

கச்சிதமான ஒளியமைப்பு…..வின்செந்ட்--பி.என்.ஸுந்தரம் இருவரின் கைவண்ணத்தில் வியத்தகு வண்ணம் கற்பனையோடு காட்சியமைதிருப்பர்….. நாயகன் ஜெமினியின்..நிழல் ஒரு சுவற்றின் மேல் விழுவதும்.. அது அவரின் மனசாட்சி போல நினைப்பதும் அற்புதமான ஒரு சிந்தனை திறன் !! பாடல் முழுவதும் அவரின் மனசாட்சி ஆறுதல் கூறுவது போன்ற அமைப்பு…கருப்பு வெள்ளை படமான இதில் ஒவ்வொரு வரிக்கும் ஒரு ஷாட்… ஜெமினியின் முகபாவங்களை மிகவும் அழகாக காட்டும். ஒரு இருண்ட அறையில் தன்னை ஒளித்துக்கொள்வது போன்ற காட்சியமைப்பு அற்புதமான் கருத்தோட்டம் !!

அதில் …உனக்கும் கீழே உள்ளவர் கோடி என்ற வரிகள் வரும்போது…. ஜெமினி பின்புறம் செல்வதும் அவரின் நிழல்/மனசாட்சி
முன்புறம் வருவதும் நம் கற்பனைக்கெட்டாத ஒரு காட்சியமைப்பு !!

During the climax, there will be 11 shots continuously focusing on the anxiety of the 3 inside car, the walk of the group of Bishops from top, side and low angles and finally gets into Devika who hurriedly walks out and screams Babu….few flashes between Gemini and Devika….now the camera follows Gemini upto the Church …a zoom shot shows the aggrieved 3 at the Church entrance....the camera withdraws and gets inside the Church….again it comes out …this time from the entrance ….as both Muthuraman and Devika fade away, the camera goes upwards and ends the movie ….


The movie is a combined effort of the entire crew …..Before this movie, one could see astounding camera work in ‘ Andha Naal ’ a S.Balachander movie …Certainly Sumaithangi’s cinematography was one of the best works of the early 60s when the technology wasn’t that advanced then….

Heartening to see Mr. P.N.Sundaram today in Jaya TV during a programme by SICA recognizing all veteran camera men giving them ‘ Life time achievement award ’

[madhuraman]

Dear Mr.Balaji,
An excellent piece on Cinematography of Sumai Thaangi. In my humble opinion "SUMAI THAANGIYIL SUMAIYAI THAANGIYAVARGAL MOOVAR- A.VINCENT, P N SUNDARAM and CV SRIDHAR. The whole of your writing in this piece can be fully understood, only if readers try to recall the then styles of Cinematography which had a real rich dose of close-up shots to capture the facial exercises of conveying the heavy mood. Well, Sumaithaangi does have those strategies of close-up capture. Still it was an entirely different style of picturisation holding the audience to the focal point. Another dimension of A V - PN S pair has always been that the two have literally translated the Director's visualization on to the screen by using purposeful lighting. In the song sequence, "MANIDHAN ENBAVAN" ,Kavi arasu alsp attended the night picturisation[his car too was used] on the marina inner road, a spot that has lent phenomenal support to CVS's conceptual idea of story-telling, using the east or west extremity of Marina as simple tools enforcing the mood.
In the same song sequence a simple technique of emphasising the NIGHT SHOT has been utilized , when Gemini Ganesan tosses the beach sand against the light [silhoutte approach] effectively silencing any prospect of opinion that filters may have been employed to infuse a night effect. Nothing could have been done in that busy marina in day time ; it is clearly revealing that it was night: if we see the edges of slow waves with white fringes approaching west ward only to recede and repeat the play, we can recognize the night. These observations are quite necessary to lay stress on the fact that , the entire work in those days had to be done with slow films not backed up by any post production amends or infusions. A marvellous feat as the camera crew had just made the best use of minimum light resources to enhance the sober mood of the situation.
One small correction in your observation: There is no song in S T that was shot in Brindavan gardens [KRS dam] What you see as the romantic locale is SATHANOOR DAM. Those days CVS had the technique of utilizing dam sites for duets. On the whole you have relived Sumai thaangi for all of us to enjoy. A great work indeed. May God bless you to help with all that is good for you.
Warm regards K.Raman Madurai.
_________________
Prof. K. Raman
Mumbai

[Baskar CS]

a scene in the steps at a higher altitude with lovely Background in the song enthan parvaiakku..

what a pictorial and angles particularly in the steps and in the last scene of the movie

you will feel you are in the seat of the car and in the silence gemini emerges slowly first his voice and then himself

in my opinion bheemsingh and CVS made the TFM proud and no match in the story telling or the simplicity till this date

a time for msv times to celebrate sridhar please

[S.Balaji]

Some interesting observations ! Thank you Professor and CSB . I realize now that the location is Sathanur Dam ! So even for Mambazathu vandu also the same spot no ? I remember seeing SD site for ‘ Kalangalil aval ’ & ‘ Kadhal malar kootam ondru ’. I have visited SD during my school days. We used to cover Thiruvannamalai Temple and then SD.
Coming back to picturisation, I forgot to mention another scene ….Gemini visits Devika’s house ( after the proposed wedding with Indira Devi gets cancelled ) …At that moment Devika actually will be standing before Pooja area and the Camera crew have used the glow from the Kuthuvilakku to brighten the face of Devika ! another nice work unassumingly executed !

Thanks.