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PostPosted: Sun Dec 25, 2005 1:04 pm 
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kchan wrote:
why did you watch it then...u know what a vijay movie is like... :lol:

I saw a clip of one scene when Vijay is lecturing Asin about her dress....blaah....i'm not even gonna watch that film now.


It was reviewed by Ananda Vikatan well. AV had much better review system, but I guess they are now following suntv and all other media - give good ratings to * value movies.

I am surprised that AV gave only 50 to Thavamai Thavamirunthu - It should have been 60. It is no inferior to some of the movies that AV gave 60, including Aboorva Sagotharargal, Nayagan


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PostPosted: Sun Dec 25, 2005 1:09 pm 
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Shahran Sunny Audit wrote:
I guess finding the balance is key to making a good film, only a handful of filmmakers have done this.


Yep. In TT, last 15 minutes there were no dialogues. Only BGM and what happens - so I guess he decided to do find the balance at the end.

Shahran the DVD will be released by VGP in USA. Not sure who will release in UK. Most probably Ayngaran. Find out who released Ghajini dvd in UK. TT will most likely be released by the same folks.


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PostPosted: Sun Dec 25, 2005 7:11 pm 
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Shahran Sunny Audit wrote:
Using too much imagery can sometimes bore audiences; it explains why great filmmakers like Bergman, Ray and even Kurosawa are not widely recognised by mainstream audiences.



I think more than the audience getting bored they are over-whelmed or perhaps just not ready - these directors expect the audience to constantly interact with what they see on screen, for them cinema is NOT a "passive entertainment” they push viewers to think/feel and react to what they see and very few want that ( esp. from an indian perspective watching movies is usually seen as a zero “brain-drain” exercise).

I can see you point and understand that most of Indian audience are not "ready" for it and still depend on spoon-feeding information via voice-over-narration, my problem with TT is that in certain situations it was just not needed - case-in-point --> when he starts the movie/story - people already know there is going to be flashback (btw – I loved the use of B&W for present and colour for past events ) - so why bother explicitly stating it! , I would also have really liked if he did not use VON during his fathers loneliness ( that could have done it for me )

Anyways - like i said before, if we want to Nit-Pick and/or rip this movie apart i am sure we can easily do it ..., but then I felt a special connection with this movie ( a very rare moment with Indian cinema) and really want to leave the movie quirkiness alone, I guess I just wanted it to unfold in front of me and I am glad I did.


Shahran Sunny Audit wrote:
I learnt my lesson after making my short film, which had less tell and more show. My film was praised by fellow film-school classmates, some film buffs, and my lecturers. However, when it was shown outside to the general public the feedback was completely the opposite.


I would like to see thi movie also (if possible)

Quote:
"The masses are asses" - Jean-Luc Godard


Where did u get this quote ?? - seems like a very out-of-context godard talk (from what i know he respects the audience very much )


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PostPosted: Sun Dec 25, 2005 7:31 pm 
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Hey Ram also used b/w for present day and color for the past.

I don't know if you guys have seen Paheli, but it was really bad about spoonfeeding. Things would happen, then two puppets would appear and recap what already happened. Ridiculous.


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PostPosted: Mon Dec 26, 2005 7:42 am 
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dvdisoil wrote:
"The masses are asses" - Jean-Luc Godard

Where did u get this quote ?? - seems like a very out-of-context godard talk (from what i know he respects the audience very much )

Link below. I actually read the actual "The masses are asses" quote elsewhere(can't remember exactly where?), but nonetheless found it again at another link.
http://www.etext.org/Politics/MIM/movies/godard.html
Quote:
Godard's most enduring insight is to defeat the "masses-are-asses" line in art while combining that view with a strong orientation toward building independent institutions of the oppressed. In 1962 he hadn't made any Maoist films yet, but he was already a Brechtian. That means he sought to change the world by engaging the audience in his art. In fact, in 1968, he correctly said "we have to fight the audience." (p. vii, 15) That to MIM is an accurate statement about the imperialist country audiences, which are bound to be a majority petty-bourgeoisie and encrusted with reactionary ideas.


With regards to the use of voice-overs in Hindi and/or Indian cinema; as far as I'm concerned, Sanjay Leela Bhansali is the only one who seems to be on the right path with this skill. Mostly appearent in Khamoshi & Black and with rare moments in Devdas; Bhansali's use of voice-overs provide a basic narrative tie to combine a lot of his film's thematic complexities: the ton of his characters have ties to silent cinema, his films are surrounded with overwhelming visual imagery, in so doing, Bhansali animates some of the power of silent cinema, linking them to a more elaborated use of sound in voice-over narration and music.


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PostPosted: Sat Dec 31, 2005 6:40 am 
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I am lil confused [/i]DVD Collector[/i] - the quote you gave seem to indicate the JLG was infact bent on "defeating" the 'masses-are-asses' quote – eitherways i always felt he fought against the elite class and in that process ended up creating art for the intellectual elite !


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PostPosted: Sat Dec 31, 2005 8:09 am 
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I see your point dvdisoil, and thus I'm a bit confused myself actually. But than again, I beginning to think perhaps JLG never had any faith in the mass elite to begin with; considering this quote of his and his recent notion of "cinema is dead"(??) :cry:


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