In the prologue, it’s the Eminent justice V.R. Both the prologue and epilogue deals with people talking about abolishing capital punishment.
PROGRAM SIMILAR TO METAMOVIE BUT FOR SONGS MOVIE
It consists of a prologue a news documentary style framing device two separate movie narratives about the same set of events and an epilogue. The formal structure of the film is extremely ambitious. Since this is a Kamal Haasan written and directed film, it is dense with multiple layers. There are no romantic notions of chivalry or valor here ,its about imperfect human beings, death, demons and lawlessness It’s definitely not a film for the faint hearted, with graphic scenes of heads and limbs being chopped off and scenes of violence against women and children, the film certainly earns it’s A certificate. the film takes an unflinching look at the violence and destruction caused by these impulsive, ultra-violent men. And as in Othello, Kothala tevar plays the role of scheming Iago and Annalakshmi is the Desdemona surrogate. This is more the tragedy of Othello to Tevar Makan’s rousing Henry V. He is ruthlessly used and betrayed by people whom he love and trust.
/piano-synthesia-594c14b95f9b58f0fc4a0ebc.png "program similar to metamovie but for songs")
His childhood and adolescence was spend in misery, and away from home, in Singapore. Unlike in Tevar Makan, where the lead protagonist Sakthivel is shown as a cool headed, well educated, modern leader, who inherited a great legacy from his father, Virumaandi is portrayed as gullible, impulsive, hot tempered and an orphan. But that’s where the Rashomon connection ends. Rashomon also dealt with differing perspectives about a rape and murder. Virumaandi is also accused of raping Kothala’s niece (and Virumaandi’s lover) Annalakshmi, who later committed suicide. Both the characters are now in prison – Kothala for life, while Virumaandi is sentenced to death- for their involvement in a mass murder that took the lives of about 24 people. the linear narrative structure is chopped up into Rashomon style separate narratives from the perspective of 2 main protagonists of the film Virumaandi Tevar(played by Kamal) and Kothala Tevar(played by pasupati). But this time Kamal takes a ‘Goodfellas’ approach, by going real, down and dirty. Kamal’s directorial venture Virumaandi (2004 ) is again set in the same milieu, and deals with similar subjects of tribal feuds, loyalties and battles over land and women. it was designed as a very classical film that romanticized the Tevars especially the lead characters of the feudal lord and his son Sakthivel. The story of Tevar Makan(1992) was set in the tevar clan of rural Tamil Nadu, and like Godfather. The second, Tevar Makan, which Kamal himself wrote and produced, had him in the role of Michael the family scion who inherits his father’s mantle. First was Nayakan, directed by Mani Rathnam where his Shaktivelu Naicker was modeled on the family patriarch Vito Corleone. Kamal Haasan has himself being part of two Godfather adaptations.
The big difference was that Godfather was a classical, romantic take on the subject, with the family patriarch treated as the god of his realm, while Goodfellas was an avant garde, down and dirty treatment of the same, showing the protagonists as the violent wretches they are.īoth films has triggered countless imitations, inspirations, rip offs, etc. They are also the greatest movies made on the relationship between organized crime, Family bonds, Clan wars and tribal loyalties. Even after 16 years, Kamal Haasan’s Virumaandi packs a visceral punch, and for all its debt to Rashomon, it is his ultimate meta movie that analyses Myths, Movies, Truth and Reality.įrancis Ford Coppola’s The Godfather and Martin Scorsese’s Goodfellas are two of the greatest films ever made.
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