{"id":1281,"date":"2017-09-04T14:31:04","date_gmt":"2017-09-04T14:31:04","guid":{"rendered":"http:\/\/thesica.in\/?p=1281"},"modified":"2017-12-03T06:43:55","modified_gmt":"2017-12-03T06:43:55","slug":"cinematography-applied-o-kadhal-kanmani","status":"publish","type":"post","link":"https:\/\/thesica.in\/ta\/cinematography-applied-o-kadhal-kanmani\/","title":{"rendered":"Cinematography Applied: \u2018O Kadhal Kanmani\u2019"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]OK KANMANI<\/strong><\/p>\n

Year 2015 ; Among the odd 200 features which were released in Tamil , only a handful of films were memorable.<\/p>\n

As learners of film language and craft ,, let us pick out one single epitomic film and see how cinematography is applied;\u00a0 making it as a cohesive whole in creating a cinematic world.<\/p>\n

O Kadhal Kanmani , directed by Mani Ratnam and Cinematography by\u00a0 PC Sreeram.<\/p>\n

This film creates a beautiful , credible world which makes one emotionally connect and resonate.\u00a0 All elements of filmmaking come together. This\u00a0 under-recognized film deserves a more attentive watching.<\/p>\n

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Aye Sinamika Song Teaser From OK Kanmani-MP3-Video-Dulquer Salmaan-Nithya Menon-Onlookers Media<\/figcaption><\/figure>\n

This is the seventh collaboration between the director and the cinematographer. And it shows.<\/p>\n

When a director and cinematographer grow over a course of several films, there comes a level of technical and narrative camaraderie and\u00a0 a matured and evolved output with a midas touch. This film is an\u00a0 excellent example.<\/p>\n

They have shot Mumbai before. But the Mumbai in this film is very different. Exteriors, filtered with grads ; layered and lacquered and Interiors, lit with exquisitely colored palette , especially, Ganapathy\u2019s home. It\u2019s a very interesting departure from the oeuvre of the Cinematographer.<\/p>\n

The staging of the film ; notice that it is unforced , natural and is personal. Scenes to particularly note are Adi entering Ganapathy\u2019s home for the first time, the church\u00a0 wedding scene where Adi strikes up a conversation with Tara for the first time or when Adi brings Tara to Ganapathy\u2019s home first time. And the key scene where , in Ahmedabad,\u00a0 Sabarmathi Ashram , Tara opens up about her father. Or\u00a0 the scene when Tara meets Adi , after he was absconding for couple of days. Note how excellent , crisp writing is married to effortless , unobtrusive staging and capturing with the camera.<\/p>\n

Note the exuberant energy infused in the song \u2018Mental Manadhil ..\u2019 by way of staccato shots, use of zoom , blurred-slow frame rate and of course the camera movement. The brilliant editing matches the high voltage energy of the song. It is interesting to note how the loopy song , \u2018Paranthu Sellavaa \u2026\u2019\u00a0 was wholly shot inside a single room and still making it visually very engaging , by means of versatile camera movements and angles, aided by supporting\u00a0 art direction.<\/p>\n

Notice how , because Adi is a game developer,\u00a0 gaming images and videos are\u00a0 progressively interspersed, there throughout the film starting from the title sequence to the development of the new game to the end credits.<\/p>\n

Note the transition of night to dawn , when the party for Adi is over and Tara and Adi are at the Gateway of India, drawing up a contract. Notice the framing at this all important moment, when they\u00a0 really come close.<\/p>\n

And then, notice the visualisation of the song \u2018Theera Ula \u2026\u2019. It starts of as a countdown for the last 10 days and then tapers off into the scene where Adi gifts her for the first time . See the framing in this sequence , with pigeons fluttering around.<\/p>\n

See how the use of rains towards the climax, adds strongly to the mood, when Adi and Tara\u00a0 frantically search for Bhavani.<\/p>\n

See how doors help in framing and creating a mood ; towards the end when Ganapathy\u00a0 puts Bhavani into bed and in the same vein , Adi and Tara think about themselves \u2018together\u2019.<\/p>\n

See the use of mirrors in the scene which follows. When finally Adi\u00a0 commits to Tara, they both are infront of the mirror. Triple images , with different looks , confront us .<\/p>\n

Note how , in the last shot,\u00a0 a simple location is transformed into a wedding ceremony place with its tasteful art work and very fluid camera movement , with great help coming from the music layered on the sound track<\/p>\n

From a production point of view, it\u2019s a small\u00a0 film.\u00a0 It would be interesting to know that more than seventy percent of the film was actually shot in Chennai , including the climax raining street and road, where Adi and Tara search for Bhavani and Ganapathy.\u00a0 Mumbai and Ahmedabad were the other locations , where exteriors were shot extensively.\u00a0 But note, how seamless the scenes and the locations are.<\/p>\n

This film is definitely a master work of the director \u2013 cinematographer duo , aided by great , groovy music and excellent editing , where several elements have come together as a whole.<\/p>\n

Go back again and again to a film you like and watch it deeply. Some films deserve this attention. The film will then, unravel, how different elements come together cohesively to create a world for us to immerse and connect. It will expose how technique and craft has been used in the film. It could be a great learning experience..!.<\/p>\n

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