DISCLAIMER: People with weak constitutions/heart problems please stay away from this post. Contains graphic violence and thematically disturbing images.
The year was 1990. There was an unusual crowd at the theater. Upon investigation, it was found that it was the occasion of the release of next film by Ramanarayanan, the master of “religious thrillers”, if they exist. Aadi Velli (1990) had set high expectations in the minds of the film fanatics and they did not want to miss the rare chance of seeing it in theaters. The whole crowd got in. The show finally began. But only half the people returned.
The whole film has such exhilarating moments that people went numb watching it. The climax which tops all the scenes is one that was jaw-dropping (minus the drool) and will be cherished by generations to come. I had the chance of seeing it on VHS about 15 years ago and boy did I love the film! I recently got hold of the original VCD. As a service to mankind, I have cut out the best parts from the climax and uploaded it on you tube. I am presenting the same below. (If you have hurried to this point, read the disclaimer above)
Notice the time-slice photography in the duel, later copied by The Matrix. Also note how easy it is to generate King Katari. But please kids, these stunts have been performed by expert programmers and professional monster-creators. Do not try this at home.
Though King Katari is defeated, it will remain as the best villain in the memories of the audience for its efforts, intimidating acts, courage, shape, size, colour, cost, elastic coefficient etc. As a Cinemaniac and responsible human being, I request all of you viewers to spread the word and ask as many people to watch the video so that we do not miss one of the best moments in world cinema history.
P. S. : Please do not compare with Narasimma or Yaarukku Yaaro. I hate such comparisons.
Seldom do films come that are so simple in their presentation yet possess such strength in their characters. These are the films that sweep you off the ground with their sheer brilliance. Federico Fellini’s La Strada (1954) is a benchmark for industries such as Bollywood which flourish on fantasy for film making. La Strada marks Fellini’s transition from neo-realism (His previous film being the brilliant I Vitelloni (1953)) to fantasy. And what a transition it is!
What is love? Is it the inevitable sensual desire that arouses? Is it only bodily game played by the hormones? Can science explain all loves? Or is it something that transcends reasoning? These are issues explored in Kieślowski’s Krótki Film O Milosci (1988). Released as an extended version of an episode from Kieślowskis phenomenal TV series Dekalog, Krótki Film O Milosci was shamelessly ripped off (including the title) for the Indian version Ek Choti Si Love Story.
Cinema has evolved from being a medium of documentation and story-telling and to a medium of providing social, political and spiritual commentary of the era involved. But all such movies are not accepted with open arms. Tastes differ and so do ideologies. Films that have been against the political and religious ideologies of key organizations and powerful people have been shunned and their makers condemned. This was especially true of the films that were made in communist countries such as USSR and East-Germany. One such gem that came from the Czech Republic is Milos Forman’s Horí, Má Panenko (1967).
Once in a while, there comes a movie that shatters the beliefs of people on cinema and redraws the lines between right and wrongs of the medium. These are the films that redefine the boundaries of film making thus providing new standards and freedom for films to come. At a time when swearing on screen was a taboo, came the classic Gone With The Wind (1939) with the legendary “Frankly my dear, I don’t give a damn.” quote. A Clockwork Orange (1971) that questioned induced goodness and evil in a very strong way, Straw Dogs (1971), famous for its graphic rape scene, Un Chien Andalou (1929) that introduced surrealism in cinema, the semi-snuff Cannibal Holocaust (1980) and its brutality – all these movies may have been snubbed by audience and critics at the time of their release, but no one can question their impact on the future generation of directors.
I’m sure many would have watched Quentin Tarantino’s Reservoir Dogs (1992) or Pulp Fiction (1994) and become fascinated with the style of film making – Long conversations about…er, just conversations, dark humour, petty issues magnified, weird characters. Though Tarantino was influenced much by the works of Godard, the effect of Truffaut’s Tirez Sur Le Pianiste (1960) on his style cannot be written off. Tirez Sur Le Pianiste primarily acts as a cross between the 50’s film-noir style and Hitchcock’s troubled characters.
During a war, more than armies and governments, it is the children who are affected most. The images of the atrocities and violence in the war makes an impact that is life-changing for them. The subject of children of war has been a less tackled one when it comes to Cinema. Andrei Tarkovsky’s Ivan’s childhood (1962) gave as an immensely personal account of war as seen by the title character. Another critical film on the same subject is Elem Klimov’s Idi I Smotri (1985). The film is hailed as one of the best anti-war films for its depiction of the influence of war on children.
The Seventh Art 