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ALOYSIUS VINCENT-IV

 
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madhuraman
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PostPosted: Fri Mar 13, 2015 3:12 pm    Post subject: ALOYSIUS VINCENT-IV Reply with quote

ALOYSIUS VINCENT –IV
From varied sources and from the pieces AV’s work, it is clear that he was among the pioneers to have practised the trend of updating his skill by considering the theory as a robust basis on which he would logically execute his idea for visual presentation. This, we can infer from the amazing consistency with which his lighting patterns remained for any given movie. He was deviant in styles and yet managed the richest level of impact on the audience. For proof, we can recall the elegance in presenting the 2 characters of MGR through ‘Engaveetu pillai’ in Eastman colour stock.

Camera movements
Any cinematographer reveals self by unobtrusive dominance through visuals by politely reminding the viewer of creative approach. I mean, one need not put the camera through cramped spaces to demand attention. Vincent’s style was to do a polite but emphatic display of depth and persistence on to the central character[s].
If any substantiation is called for we can always recall the camera’s steadfast following of the pair Rajasree-Ravichandran in the picturesque set for the song “nALAm nALAm thirunALAM”; ONLY AFTER multiple viewing the viewer comes to appreciate the rich arrangements of water flow and flora just under a culvert. The scenic beauty has put to shame all later efforts of ‘overseas’ picturization of a duet. Carefully consider the ‘T’ SHIRT and Half saree in tones that complement to contrast in a not heavily lit scene – a true reflection of hideouts that yester decade lovers used to prefer. Physically, the camera keeps moving with the lovers, just to immortalize the expressions for a song that would stay etched for all our lives to come. It is a case of AUDIO- VIDEO Conjugation in complementation. Am I wrong?
Another exceptional piece of work in the same movie pertains to out door capturing of moving objects [ 2 cars ] in circular motion around the round tana ahead of the majestic guest house – The AAliyar location. Recall the most aesthetic viewing angle that makes the viewer believe that [s]he is in one of the cars with a sense of sustained visual continuity. Marvellous to say the least!
In an earlier period, Vincent used his skill in sustained pursuing of artiste for visual presentation. Yes, in “Meenda sorgam” he mounted the movie camera on a mini platform held firm by ropes; he wound the ropes tight and thus raised the camera to a high plane; he suitably lit the fields. Of course by properly suggesting to the crew, he advised the artiste Padmini to keep viewing the camera so as to be in line with it even as she would be dancing for the song. She had to move in a circle in line with the camera which was brought in a descent by unwinding the rope to loosen. It was manually executed to lower the camera till it came to the lowest camera position pre-determined. These are cumbersome and tiring; but the visual effect could not have been better achieved, since cranes can only move in a short arc along a vertical transit. Vincent’s effort paid off for a 360o rotation even as the camera travelled from a higher to a lower plane. Though described in a few lines, the planning, lighting and patiently registering the artiste’s dance movements keeping the light values intact are not easy to achieve. This man could do it some 50+years ago is evidence of his zeal for innovation and degree of commitment.

More to follow.
K.Raman Madurai
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Prof. K. Raman
Mumbai
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parthavi
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Joined: 15 Jan 2007
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Location: Chennai

PostPosted: Fri Mar 13, 2015 4:43 pm    Post subject: Reply with quote

Extraordinary efforts by the late genius. thanks prof for sharing this. My admiration foe your perspicacity has gone up after reading your observations about A. Vincent's pioneering work. It is a pity that the Tamil film industry did not even pause to mourn the demise of this great contributor.
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