This morning was as fresh

This morning was as fresh as Alai Payuthey Madhavan‘s leap to the sky. Watched Pachai Niramey for the nth time in Sun TV. nth time = number of days from the release of Alai Payuthey * 2. Arguably the best picturised song of AR Rahman and one of the best song of ARR and Mani Ratnam combination. Before Pachai Niramey‘s coming I would have argued it could be the Chandralekha song from Thiruda Thiruda. Even today Chandralekha is one of the outstanding songs in tamil cinema. Even if Mani wants to picturize a similar song it would be difficult for him, now. It is such a potent combination of extraordinary camera angles, awesome choreography and fresh vocals (rendered by Anuphama). My cousin couldn’t believe that the whole Chandralekha song was picturised in the Chennai museum located at the heart of Chennai.

Alai Payuthey by itself is such a engrossing movie. But Pachai Niramey clearly stands out. It could be said as a song with nearly no flaws. The picturisation glues with the tune and color combination is so pleasant that there isn’t any diminishing marginal utility funda with this song. Though there is a clear exaggeration of color and this has been achieved by the color grading. I had read in an interview of PC Sriram that he and Mani Ratnam took more than a couple of weeks for the color grading for this movie which is far from normal. The result is such a clean product that will stand over time.

Mani Ratnam loves the Taj Mahal. Not the usual way which others show and see. It is an angle that many haven’t even thought about. From Panni Vizhum Iravil in Mouna Raagam to Pachai Niramey in Alai Payuthey he has shown this tomb of love in some real exciting angles. In Mouna Raagam it was a nightly view with a long panning shot. It was mostly a backdrop for that song. But the most intresting angle was in Iruvar. Many haven’t even attempted to see the movie in theatre. In Iruvar’s Vennila Vennila (rendered by Asha Bhonsle) song when Aishwarya seduces Mohanlal, the camera shows a blurred green leaf and suddenly moves in a fast fashion opening up the Taj from the side angle. It is a very close angle where the viewer is suprised by the sudden appearance of Taj. Only someone of Mani’s caliber could think this shot. A similar backdrop of Taj is filmed in Pachai Niramey just as the last shot when Madhavan takes a huge leap among a maze of white clothes and taj forming the white backdrop for that shot. The whole shot lasts just for 4 seconds and it is real piece of class. And so I sipped my morning filter coffee watching Mani’s masterpiece.

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