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Whereas wishing Mani Ratnam on his birthday in 2023, Kamal Haasan wrote, “You’ve consistently pushed the boundaries of cinema unmindful of the size of problem by consistently studying.” He was not improper. (Additionally Learn: Mani Ratnam explains why it took so lengthy for him to collaborate with Kamal Haasan once more: ‘It’s robust…’)
Since Mani debuted in 1983 with the Kannada movie Pallavi Anu Pallavi with Anil Kapoor, he has at all times made movies forward of time or handled subjects most filmmakers wouldn’t dare to the touch. All whereas making certain the movies have been visually beautiful and had nice music by Ilaiyaraaja, AR Rahman. Check out six movies by Mani that pushed the boundaries of cinema.
Nayakan (1987)
Loosely based mostly on the Bombay underworld don Varadarajan Mudaliar and the American movie The Godfather, Nayakan made the world sit up and take discover of Mani’s expertise. Within the film, Kamal performs Sakthivel Naicker, aka Velu, a person who takes revenge for his father’s homicide and turns into a feared gangster. Not solely was the movie a far cry from the standard song-and-dance business cinema was providing, it refused to evaluate its foremost character morally, inspiring many filmmakers to comply with go well with.
Anjali (1990)
Anjali was so good that it was chosen as India’s official entry to the Oscars in 1991. Whereas the movie didn’t obtain a nomination, the movie stays a benchmark for movies that take care of complicated topics respectfully and entertainingly. Shamili performed the titular Anjali, a mentally challenged youngster who’s dying. Her dad and mom (Raghuvaran, Revathi) grapple to present her the love she deserves earlier than she dies whereas taking care of their different youngsters (Tarun, Shruti). Anjali didn’t simply take care of a tough matter, it additionally talked about acceptance and forgiveness.
Roja (1992)
Arvind Swamy and Madhoo headlined this romantic thriller that reveals a newly married couple’s honeymoon in Kashmir. However quickly, the husband is kidnapped by militants throughout an undercover operation. The titular Roja, a younger woman from a village, pleads with the army and politicians for assist. The movie delved into the subjects of terrorism and separatistism. It was distinctive for a love story to additionally take care of the political ambiance brewing in India again then.
Dil Se (1998)
Like Roja, which was set in Kashmir, and Bombay (1995), which was set in Mumbai throughout the riots, Dil Se is about in opposition to the backdrop of insurgency in Assam. Shah Rukh Khan performed Amarkant Varma, a program government for All India Radio, who falls for Moina, an extremist and member of the United Liberation Entrance of Assam. Not solely did the movie garner discover for its nonlinear storytelling, however it was additionally a poetic tackle the seven shades of affection (attraction, infatuation, love, reverence, worship, obsession, and dying) whereas throwing gentle on the political situation in India again then.
Kannathil Muthamittal (2002)
Kannathil Muthamittal is an underrated gem in Mani’s filmography. Primarily based on the quick story Amuthavum Avanum by Sujatha, the movie sheds gentle on the plight of Sri Lankan Tamils throughout the Civil Warfare. It additionally broke limitations by exhibiting a single man, a author referred to as Thiruchelvan (Madhavan), recognized by his pen-name Indira, his spouse’s (Simran) identify, trying to undertake a toddler. Keerthana performed Amudha, their adopted youngster, who takes them on a journey to search out her organic mom (Nandita Das).
Raavanan (2010)
Raavanan (launched in Hindi as Raavan with Abhishek Bachchan) is a retelling of the Ramayana. Veeraiya (Vikram) kidnaps Ragini Subramaniam (Aishwarya Rai), the spouse of SP Dev Prakash Subramaniam (Prithviraj Sukumaran). Whereas Veeraiya is hailed as a hero by the locals, the police deal with him as a Naxalite. Priyamani performs Veeraiya’s sister, Vennila, who’s assaulted by the police, prompting the occasions of the movie. The movie, which was a magnificence visually, handled the themes of Stockholm syndrome, other than caste disparity.
