"Nayakan" begins with a little boy being beaten by some cops. There are probably man other differences. Additionally, while Mudaliar might have been a good guy in some ways, in real life he was responsible for the sale of narcotics-something not exactly heroic. While both were apparently beloved by the community, Mudaliar's real life death was incredibly boring and was nothing like the film. However, when I read up on this criminal's career, it was quite different from the guy in this film-very. 30 long years since, as we reminisce and relish the film Nayagan, kudos to the entire team that was part of the classic.This film is supposed to be based on the life of mobster Varadarajan Mudaliar. But for followers of Tamil cinema, it has been a cherished lesson in filmmaking. And his body of work since Nayagan bears testimony to this.įor many, Nayagan was a great film, a classic. Kamal, who was till then acting in all kinds of films, started placing a premium to the choices he made in terms of roles post Nayagan.
NAYAGAN PC
Like Nassar, Saranya, PC Sreeram, Thotta Tharani and of course Mani Ratnam himself. Nayagan bequeathed to Indian cinema some amazing talent. The significance of a film can be borne out by the legacy it leaves. Any other ending would have been a dampener. Talking of screenplay, one wonders how he chanced upon the perfect climax for the film, wherein the don could escape from the long arm of the law but not his past deeds. The showing of a Plymouth first, then an Ambassador and then finally a Maruti car as Velu Nayakkar’s vehicle, to fast forward his age and life is just one example. The film is replete with his directorial touches, till then a sole preserve of somebody like K.Balachandar. Screenplay and Direction: One reckons that Mani Ratnam became the “Mani Sir” of Tamil cinema after Nayagan. While Kamal got recognized for his acting with the National Award, most others got their due by way of promising careers since Nayagan. Involving not just the lead actor Kamal but all the supporting cast. An outstanding scene with controlled performances, simple lines and an apt background score. For example, the scene where Kamal’s character meets Saranya’s for the first time - it’s a brothel and Saranya requests Kamal to leave her early as she has to study for her Maths exam the next day. And that’s a clear sign of a job well done by the Art Director Thotta Tharani.Īcting: A great film is a sum total of great scenes, brought to life by some memorable acting. But Raja came up with a beautiful melody which conveys the joyous mood between the lovers with a tinge of melancholy to suit the script.Īrt Direction: One can never make out if the slums of Mumbai’s Dharavi being shown in the film are for real or shot in sets. Generally speaking, any plain vanilla melodious tune would have done the job. In the song Nee Oru Kaadhal Sangeetham, the situation is that of the regular duet between the hero and the heroine in happy times. Using the voice of veteran singer Jamuna Rani for the song Naan Sirithaal Deepavali, set probably in the ‘60s, was an outstanding choice. The theme song of Nayagan which Raja deployed is talked about even today.
Music score: This was Ilayaraja’s 400th film and would rank among his best work. The shot of fluttering pigeons in the background when Kamal and Saranya walk along the Gateway of India in Mumbai for the Nee Oru Kaadhal Sangeetham song remains fresh in memory.
One could clearly see the difference in the look, feel and texture as the film progresses from one period to another and this was a first, I believe, in Tamil cinema. Though in this film he didn’t have much scope to showcase the beauty of outdoor locales, we could get a glimpse of his skills in lighting and deploying unique angles.
“Neenga nallavara, kettavara?” is the “Kitne admi the?” of Tamil cinema!Ĭamera work: One could safely say that though he had few films under his belt before Nayagan, the “brand” PC Sreeram as we know him today was born post Nayagan.
He could bring in the native Tuticorin flavour in the lines that Kamal’s character speaks and an overall earthiness to the dialogues. The younger versions of Kamal and Tinnu Anand were perfectly cast.ĭialogues: Mani Ratnam drafted ace novelist Balakumaran to write for the film and the latter didn’t disappoint. More importantly, the attention to detail in choosing faces that closely resemble each other as the character ages, deserves acclamation. Irrespective of the size of the roles, each one of them leaves an impact. But the supporting cast of Delhi Ganesh, Janakaraj, Nizhalgal Ravi, Saranya, and Karthika are not far behind. Here’s a closer look at some of these aspects:Ĭasting: Kamal towers tall in the film.
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