To say that Mysskin is not a formula movie maker would be a false statement. For that matter the line wouldn't apply to a certain Quentin Tarantino or one Mr. Mani Ratnam either. Every movie maker has a formula in his heart. The ridiculous ones like tom, dick and Dharani bring it out in the plot. The avderage ones like Shankar show it in issues and themes; and the better ones like Ratnam and Mysskin in ideas, characters and subtle touches that are surely identifiable with the director.
In a short span of 3 odd movies, there already are many Mysskiniatrics. The dancing woman clad in a yellow saree being the most common and ridiculed among them. There are of course subtler touches.
Mysskin's handling of the camera is a unique. More than most of his characters in the film, it is the camera that speaks. Often mounted stationary in remote locations of the shot, the camera observes the action from a single point often giving the viewer the original 3rd person perspective which is often lost otherwise when the camera moves along with the characters. Such scenes available in plenty in both Anjadhey and Yudham Sei and have an air about them that often draws the audience deep into the sequence.
Many of his support/side characters, at least in writing are what you would want to call malapproprisms. The loud Kuruvi, The silent Motta, The shady Tirisangu and the shadier Judas... these people are made to carry with them not just the role but bits of what become the feel of the movie too. Often one finds Mysskins characters working their way up the audience's minds to create what the in other films the story is meant to.
Talking about the Superhero within, both Narain in Anjadhey and Cheran in Yudham Sei are the very real super heroes in that both the protagonists find the strength from within to fight an unknown evil. Watching these two people evolve over the course of a typically three hour Mysskin movie is an enthralling and inspiring experience.
The man is now ready with his own version of "a superhero within". I was happy when I found out that the Mugamudi-man, if you may call the protagonist that, has no super-power so to say. The very prospect of a madman like Mysskin taking up such a concept is very very exciting.
In a short span of 3 odd movies, there already are many Mysskiniatrics. The dancing woman clad in a yellow saree being the most common and ridiculed among them. There are of course subtler touches.
Mysskin's handling of the camera is a unique. More than most of his characters in the film, it is the camera that speaks. Often mounted stationary in remote locations of the shot, the camera observes the action from a single point often giving the viewer the original 3rd person perspective which is often lost otherwise when the camera moves along with the characters. Such scenes available in plenty in both Anjadhey and Yudham Sei and have an air about them that often draws the audience deep into the sequence.
Many of his support/side characters, at least in writing are what you would want to call malapproprisms. The loud Kuruvi, The silent Motta, The shady Tirisangu and the shadier Judas... these people are made to carry with them not just the role but bits of what become the feel of the movie too. Often one finds Mysskins characters working their way up the audience's minds to create what the in other films the story is meant to.
Talking about the Superhero within, both Narain in Anjadhey and Cheran in Yudham Sei are the very real super heroes in that both the protagonists find the strength from within to fight an unknown evil. Watching these two people evolve over the course of a typically three hour Mysskin movie is an enthralling and inspiring experience.
The man is now ready with his own version of "a superhero within". I was happy when I found out that the Mugamudi-man, if you may call the protagonist that, has no super-power so to say. The very prospect of a madman like Mysskin taking up such a concept is very very exciting.
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