Iruvar is what Iruvar does

Baradwaj Rangan’s posts an old column on Mani Ratnam’s Iruvar in his blog, Blogical Conlclusion. Given the lucid flow and his ‘too’ perfect references to the most appropriate trivia/persons of Tamil Industry, makes this column an eminent research material.

I aspire to pen one such article on both Iruvar and Hey Ram. But after reading this column, I probably wouldn’t do that with Iruvar. If you are tamil cinema geek or a Mani Ratnam fan, this is a must read. One hell of a read, this is.

From Two People, One Industry

Iruvar has a breathtaking style that brings to mind Tamil cinema, both old and new. The film is a passage through time, and an early song sequence showing Anandan – this name is itself that of a small-time hero of the fifties and the sixties who starred in the likes of Vijayapuri Veeran and Veerathirumagan – romancing his lady is shot in black and white, with the elaborately ornamental wipes found in films of the Ambikapathi period. Vairamuthu’s lyrics here incorporate suitably chaste Tamil words, AR Rahman’s heavily Carnatic-style music appropriates the characteristics of early composers like G Ramanathan and SV Venkataraman, and this song is sung by Unnikrishnan and Bombay Jayashree.