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PostPosted: Sat Sep 13, 2008 8:16 pm    Post subject: NENJIRUKKUM VARAI - Direction. Reply with quote

Dear Friends,
We try to see here the various items of interest for the aspects of Directorial value . There are many spots where the Director registers his stamp of class and authority in the most convincing fashion.
Pre-title narration of the story is a strategy adopted by CVS in many movies as a master mechanism of holding attention. NV too has that element showing the hard life of Sivaji, V.G who pull cart loads and VG falls to the unbearable agony of chest pain. Their poverty, intimacy, coexistence in distress are all vividly presented in this opening footage. As they sneak into the house. the hound-like house owner pounces for rent and the few words of reply by Sivaji show all the critical elements including the lady character KRV who has a sisterly bondage with the 2 inmates referred to as DhadiyangaL by VSR. In a matter of 100 seconds or so the ground reality is presented by CVS in a very practical way avoiding verbal transactions.
CVS is visible in all frames by his regulation of all action from every artiste. Sivaji Ganesan's acting is superb, especially in depiction of poverty and honesty by restricting his associates from taking to wrong paths. We find a totally mellowed Sivaji who does not display boisterous pieces of dialogue and a kind of facial gesticulations. In NV he has adopted a pattern of effective eloquence by low pitch addressing. Besides, the Director has effectively suggested that VSR is a kind hearted person though he is perpetually demanding the rent. When Sivaji tries saying -we will definitely pay the rent, the frustrated house owner yells "Kuduppada kuduppa , naan seththa en sudukattu selavukku thaan kuduppa" Really when Sivaji is able to pay all the rent , VSR dies. His earlier yell turning prophetic has been used by CVS to advantage without causing any damage to the upright character of Sivaji. Also, the introduction of MR as an honest person has been done in an effective way Misunderstanding of Sivaji, KRV by MR has been depicted in a natural turn of events. All these do not have the flavour of Cinema. It is the Director's ability in convincing the audience without undue expositions of language.
A bifurcating road has been twice shown for segregation [KRV-Sivaji] and aggregation[KRV- MR], respectively with "unga vazhiyae ponga" and
"edhu varai poraeno adhu varai vaangalaen". Both spots tell the course of the story without exertion.

While all songs in the movie find the most apt placements, the planning of "POO MUDIPPAL" was certainly an innovation of sorts. The whole lot of paraphernalia that go with a wedding have all been compressed into a song. It was certainly a fine piece of Direction avoiding wastage of footage and viewer time. It was widely appreciated in those days.

Quite some pathos has been infused into VG's character. He is unable to tolerate hunger, poor in health and precariously on the edge always. His efforts to help Sivaji by running errands and trying to muster 100 Rs as deposit money raise the value of the very character and CVS has made the best use of him.
The 2 songs allotted to Gitanjali carry the impact for the second half of the movie and CVS has extracted a very neat performance from her.

There are 2 deaths in the movie [of VG and VSR] and both have been presented in seconds without trying to force pathetic sequences of rituals.
Pictorially, CVS has used subdued lighting and wide ranges of frame avoiding close-ups as a strategy of presenting poverty. KRV has been handled to give just the right level of interaction, mostly by low-tone head down postures except when she picks up intimacy to others by familiarity. These are apparently very simple points, but have certainly elevated the quality by regulating every fine point of human interaction. Much of what I have noticed cannot be expressed without inviting fatigue. I request all friends to see the movie NV and see for yourslves the veracity of my observations.
Warm regards Prof.K.Raman Madurai.
Prof. K. Raman
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