Mysskin, the name itself gives me goose bumps. I actually think I am not eligible to to be a critic of his works including most of us (just because you or me gave 120rs). So I would just try to tell on how I feel about him.
Movements:
The main thing about his cinemas are the movements of his characters. They are hyper and they move fast (physically disabled friend of the hero in 'Anjaathe', the hero of 'Pisasu', the Master himself in 'Nandhalala' and much more). That may seem absurd to most of us when we see that kind of characters in the screen. But, I think that's the beauty of his story telling ability. He is trying to invoke that hidden character in each and every one of us which wants to raise against the evil and fight.
The movements in his cinemas are similar to those of Akira Kurosawa cinemas (master and inspiration of Mysskin). In particular, most of them resemble that super-hyper crazy samurai character in 'Seven Samurai'. He runs against, fights against and wins against the evil. Similar to that are Mysskin characters.
Importance to female characters:
And one more important thing in his Cinemas is the importance he gives for his female leads. They are bold, sharp and they fight against evil. His female leads did that in Chithiram Pesudhadi, Anjaathe, Yutham sei, Mugamoodi, Onnaiyyum Aattukuttiyum (the transgender character) and in Pisasu (where the whole film is based on the female lead). It's a very rare thing in Tamil cinemas nowadays but the Master does that in style.
Camera Angles:
Then comes his camera angles. They are master class. He made me understand that legs can show these much emotions. These 'legs and camera angles combination' at peek is the scene in Yutham Sei where Yudas finds that the little girl committed ssuicide in their home and his following reaction to that. The legs movement show the shock he was into and the tilted camera angle shows his collapsed mind. Master at his best. Like this we can say about many scenes like in Yutham sei where Cheran investigates a fellow policeman, the scene where Cheran fights with rowdies in over bridge and the scene where Yudas confesses everything.
Characterisation:
The Characterisation of his characters starts from the very first frame of his movie. In each dialogues they speak and each actions they do, Characterisation starts happening. The most I like is 'Anjaathe' in par with 'Madras' of Pa.Ranjith. The intro dialogues and the intro fight of 'Anjaathe' tells it all.
Story telling:
A good Cinema should give a hold of the story and the characters to the audience in first 20-30 mins of the movie. New characters and the twists are expected in the climax which enhances the viewing experience of the audience. Mostly all cinemas of the Master abide by this.
Music:
Music in his cinemas are class. He uses it aptly to convey the mood of the particular scene. Music of Pisasu, Onnaayum Aattukuttiyum and Nandhalala are worthy mentions. Particularly the Violin music of Pisasu, which takes you into the world of the female character and makes you too feel for her along with Radha Ravi.
Controversy:
There is always a talk that the Master speaks much and creates many controversies. Yeah, he does that. But what is wrong in that. As Bharathiyar says,
"nimirntha nannadai ner konda paarva"
he has every right to be like that. A personality like him who has the capability to take forward the Tamil Cinema should speak and act like that. So that many of us will start liking worthy cinemas on par with commercial cinemas.
Nandhalala:
This article would be unfinished without writing about his Nandhalala. When starting to speak about it, many will talk about the movie it was 'copied from'..no no..'inspired from' would be the right word. What is wrong in getting inspired huh? Even Tarantino has many scenes inspired from other Cinemas, mostly the Cinemas of Wong Kar-Wai and Ringo Lam. He does that and accepts it bravely because he knows that he will make a master class scene out of that inspired scene so that the audience will forget the original one such as the 'Mexican stand off' scene in 'Resorvoir Dogs' cinema (inspired from the Cinema 'City on fire' by Ringo Lam). Such is 'Nandhala'. It's a master class and one of the best cinemas ever made in Tamil Cinema. The final climax scene tells it all.
I can go on writing about the Master but that might test your patience (I think I am already testing here). So I would finish it here thanking my master for the 'Wolf unfolding the plot in Cemetery' scene of 'Onnaiyum Aattukuttiyum' cinema which made me cry whole heartedly after a long time.
Master is here to say :)
Movements:
The main thing about his cinemas are the movements of his characters. They are hyper and they move fast (physically disabled friend of the hero in 'Anjaathe', the hero of 'Pisasu', the Master himself in 'Nandhalala' and much more). That may seem absurd to most of us when we see that kind of characters in the screen. But, I think that's the beauty of his story telling ability. He is trying to invoke that hidden character in each and every one of us which wants to raise against the evil and fight.
The movements in his cinemas are similar to those of Akira Kurosawa cinemas (master and inspiration of Mysskin). In particular, most of them resemble that super-hyper crazy samurai character in 'Seven Samurai'. He runs against, fights against and wins against the evil. Similar to that are Mysskin characters.
Importance to female characters:
And one more important thing in his Cinemas is the importance he gives for his female leads. They are bold, sharp and they fight against evil. His female leads did that in Chithiram Pesudhadi, Anjaathe, Yutham sei, Mugamoodi, Onnaiyyum Aattukuttiyum (the transgender character) and in Pisasu (where the whole film is based on the female lead). It's a very rare thing in Tamil cinemas nowadays but the Master does that in style.
Camera Angles:
Then comes his camera angles. They are master class. He made me understand that legs can show these much emotions. These 'legs and camera angles combination' at peek is the scene in Yutham Sei where Yudas finds that the little girl committed ssuicide in their home and his following reaction to that. The legs movement show the shock he was into and the tilted camera angle shows his collapsed mind. Master at his best. Like this we can say about many scenes like in Yutham sei where Cheran investigates a fellow policeman, the scene where Cheran fights with rowdies in over bridge and the scene where Yudas confesses everything.
Characterisation:
The Characterisation of his characters starts from the very first frame of his movie. In each dialogues they speak and each actions they do, Characterisation starts happening. The most I like is 'Anjaathe' in par with 'Madras' of Pa.Ranjith. The intro dialogues and the intro fight of 'Anjaathe' tells it all.
Story telling:
A good Cinema should give a hold of the story and the characters to the audience in first 20-30 mins of the movie. New characters and the twists are expected in the climax which enhances the viewing experience of the audience. Mostly all cinemas of the Master abide by this.
Music:
Music in his cinemas are class. He uses it aptly to convey the mood of the particular scene. Music of Pisasu, Onnaayum Aattukuttiyum and Nandhalala are worthy mentions. Particularly the Violin music of Pisasu, which takes you into the world of the female character and makes you too feel for her along with Radha Ravi.
Controversy:
There is always a talk that the Master speaks much and creates many controversies. Yeah, he does that. But what is wrong in that. As Bharathiyar says,
"nimirntha nannadai ner konda paarva"
he has every right to be like that. A personality like him who has the capability to take forward the Tamil Cinema should speak and act like that. So that many of us will start liking worthy cinemas on par with commercial cinemas.
Nandhalala:
This article would be unfinished without writing about his Nandhalala. When starting to speak about it, many will talk about the movie it was 'copied from'..no no..'inspired from' would be the right word. What is wrong in getting inspired huh? Even Tarantino has many scenes inspired from other Cinemas, mostly the Cinemas of Wong Kar-Wai and Ringo Lam. He does that and accepts it bravely because he knows that he will make a master class scene out of that inspired scene so that the audience will forget the original one such as the 'Mexican stand off' scene in 'Resorvoir Dogs' cinema (inspired from the Cinema 'City on fire' by Ringo Lam). Such is 'Nandhala'. It's a master class and one of the best cinemas ever made in Tamil Cinema. The final climax scene tells it all.
I can go on writing about the Master but that might test your patience (I think I am already testing here). So I would finish it here thanking my master for the 'Wolf unfolding the plot in Cemetery' scene of 'Onnaiyum Aattukuttiyum' cinema which made me cry whole heartedly after a long time.
Master is here to say :)
