![]() ![]() There are no words spoken – it is a visual essay – the pain, the affection, and the anger are just laid bare. The scene from MM that affected me most is the first one, in which, the Kali character’s motivations and literally a rationale for his anger are established through a poignant incident in his childhood. Most importantly, the elements of film making seem to flow in an: uninterrupted, non-turbulent form – from the duo. Mahendran was a path breaker in Tamil cinema – his screenplays feel rich with visual detail, manage without lengthy dialogues and excessive theatricality. I am not sure who does the framing in Indian cinema – but as for as I know blocking/ framing is the director’s job. ![]() There is this beautiful use of depth, soft focus, lens choice, natural light or lack of it, even the way the characters are position relative to each other and the camera – they almost seem to follow us like a leitmotif hopping from film to film. evidence lies in the characteristic feel of the frames in all the movies BM shot. The Mahendran – Balu Mahendra pair were more of a director/co-director duo. ![]()
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