Myth:
The conversation format may not be suitable for an entire book.
The interviewees can go overboard and try to masquerade the narrative with their tailor-made analysis.
The
interviewers can be restrained in their questions and try to sound forcibly
amusing.
Reality:
‘One of the international-standard film-makers in India. This wonderful book is a tribute to his genius’ – Rajnikanth.
‘Once I went to Mani Ratnam’s office to narrate a screenplay. I couldn’t look at him. I mean, how can you? He‘s the man who made Nayakan’ – Gautham Vasudev Menon
The conversation format may not be suitable for an entire book.
The interviewees can go overboard and try to masquerade the narrative with their tailor-made analysis.
Conversations with Mani Ratnam by Baradwaj Rangan strikes like a
lightning and sheds all the aforesaid myths.
Right from the word go, the author and critic Barawaj
Rangan prefers the tale to the teller, and he chose conversations format to
know film director Mani Ratnam better. Rangan reinforces the distinct position
of the director by saying “marry what you want to do with what the audience may
be willing to accept”— this book has a rehearsed impulse. Following a different
approach, the interviewer never really tries to pull YES or NO answers from the
interviewee by placing him on a shaky terrain, and as the author traverses
through the inner pages, a congenial casualness grows between the two.
It might have taken several sessions for the
conversations to grow and expand. Rangan started the proceedings like a fanboy
and eventually brought out the best from the film-maker. Mani Ratnam walks back
in time and narrates his experiences, and Rangan gets connected to them for
their amoral, artistic flair of 1980s. In the first few pages, Rangan sets the
stage for the reader by introducing all the movies and narrating his personal
experiences surrounding those films. He states Ratnam’s 80s films as Madras
movies and labels Roja as a
bridge between Tamil and Hindi films, and from there Mani Ratnam started
painting on the national canvas. The director’s works re-defined the identity
of Tamil cinema in that era, and Rangan has particular attachment with that
identity.
Rangan
is initially embarrassed to sit across the man who made Nayakan, Roja among others and ask why he makes films. Ratnam wears a
satirical tone when he talked about his over-analysis of his screenplays and
characters. When Rangan asked him about Mounaragam and the reason for no duet between Revathi and
Karthik, he retorted saying Karthik’s character was not present in the original
script Divya (the
working title of Mounaragam) and
was introduced later on. He thus opened a bag of surprises that revolved around
making of the film, and reiterated his proximity to the institution of marriage
and the sentiments attached to it.
Movie
lovers fancy this book and make it an essential one in their collection. Rangan
elucidates the great works of Ratnam – most of them belong to ‘personal genre’
(as stated by the author) - through 300 pages of conversations filled with
detail. The director presents a practical approach of all his works and
explains ‘why he did what he did.’ The book throws light on creative
collaborations of Mani Ratnam with Balu Mahendra, P C Sriram, Santosh Sivan,
Ilayaraja, A R Rahman, Ram Gopal Varma etc. Whether it’s on how the theme song
of Nayakan changed from being rustic
in the beginning to a more polished one in the middle or the different ways in
which Ilayaraja and A R Rahman compose music, Ratnam strikes the right chord.
The
book takes us through Ratnam’s understanding of human relationships and how he
presents them to perfection on screen. The book also mentions his denial to use
films as a medium for straight political comment. Ratnam says the political
views that are present in the first draft gradually get diminished and what
remains is “how much the film can take.” He is known for his commitment to
aesthetic values in films and explains that he does not always want to
communicate what he thinks. He says the most emancipating thing about being a
film-maker is “You can be what you’re not.”
For
Ratnam, the flights of fantasy come in the form of transition from the stage of
script work to that of filming. He describes his association with actors and
how he leaves certain liberties to them on the sets to glorify a scene. For
example, in Nayakan when
the cop drops Kamal Haasan off at the slum and leaves, there’s a very
instinctive thing Kamal does, when the residents of the slum gather around him.
He sprinkles his blood on the kids and makes them giggle. There is some magic
that happens and Ratnam attributes this magic to Kamal Haasan. This is the
heart and soul of Ratnam’s finesse. He said he never assisted anybody before,
so he wanted to be sure that what he did was grammatically correct with proper
punctuation. However, he wanted to be accepted or rejected for the substance
(content) and not for the style (grammar).
The
book is divided into 17 chapters – Ratnam’s first three films are part of
chapter 1 and his other films are devoted a chapter each – and each chapter
revolves around the director’s experiences during the film-making process. The
foreword by Oscar winner A R Rahman is a perfect homage to his guru. Rangan
takes the film-maker through scenes, music discussions, technical nuances,
dialogues, transitions, and at times asking him to dissect a single shot and
explain, thus offering a vicarious feeling to the reader. Some conversations
entail the problems of translation, visualization of songs – he envisages
musical score as something lateral and not just supportive – sound design
aspects (esp. in Thiruda
Thiruda) and using live sound in India.
Mani
Ratnam’s odyssey gives out the influence of fine commercial cinema. Next time
when you are stuck in the middle of a debate – Why simplicity does not
essentially metamorphose to exquisite?, or why the mammoth Indian film with
song and dance sequence is as dominant as a sober, subdued and sparse European
one? – This book and the masterly works of Mani Ratnam come to your rescue.
After reading the book you show reverence to Mani Ratnam for his worldly movies
and also to Baradwaj Ranjan for unearthing such gems from an otherwise reserved
director, impeccably striking a balance between a fanboy and a critic.
“Quote
Unquote” from the book:
‘A
superb addition to the library of books celebrating 100 years of Indian cinema.
It’s a pleasure to see that Mani Sir, usually reticent, has spoken with such
candour’ – Gulzar
‘Mani
Ratnam designed the essential bridge between old and neo cinema that we all
helped build… making possible the kind of cinema we really wanted to see” –
Kamal Haasan
‘One of the international-standard film-makers in India. This wonderful book is a tribute to his genius’ – Rajnikanth.
‘Once I went to Mani Ratnam’s office to narrate a screenplay. I couldn’t look at him. I mean, how can you? He‘s the man who made Nayakan’ – Gautham Vasudev Menon
‘Mani
Sir carefully selected the pearls in me and made a garland of them. Until three
or four years ago, I would send him every album, like a student seeking his
guru’s approval’ – A R Rahman
You can buy the book here:
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