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It was Kamal Haasan who recommended Balu Mahendra as the cinematographer to Mahendran for this film. After seeing the double positive of the film, producer Venu Chettiar expressed his displeasure to Mahendran, saying he was disappointed as the film had limited dialogues. He had chosen Mahendran to make this film since he had already proved himself as a successful screenplay and dialogue writer in Tamil Cinema. The producer and distributors did not expect a film with limited dialogues and more visuals from him. |
It was Kamal Haasan who recommended Balu Mahendra as the cinematographer to Mahendran for this film. After seeing the double positive of the film, producer Venu Chettiar expressed his displeasure to Mahendran, saying he was disappointed as the film had limited dialogues. He had chosen Mahendran to make this film since he had already proved himself as a successful screenplay and dialogue writer in Tamil Cinema. The producer and distributors did not expect a film with limited dialogues and more visuals from him. |
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Venu Chettiar decided to freeze this film's budget and did not provide finance when Mahendran wanted to shoot an important lead scene before the song 'Senthazham poovil...' with Sarath Babu and Shobha. However, Kamal Haasan, a good friend of Mahendran, came forward and provided funds to ensure that the scene was shot and included in the film, giving it the necessary depth. Mullum Malarum was shot in Sringeri, Ooty. Kundha and Chennai in about 30 days. The winch operating scenes were taken at Glenmorgan near Ooty. Balu Mahendra‘s camera work was highly appreciated for its excellence.<ref name="dhananjayan">{{cite journal | title=Mullum Malarum |
Venu Chettiar decided to freeze this film's budget and did not provide finance when Mahendran wanted to shoot an important lead scene before the song 'Senthazham poovil...' with Sarath Babu and Shobha. However, Kamal Haasan, a good friend of Mahendran, came forward and provided funds to ensure that the scene was shot and included in the film, giving it the necessary depth. Mullum Malarum was shot in Sringeri, Ooty. Kundha and Chennai in about 30 days. The winch operating scenes were taken at Glenmorgan near Ooty. Balu Mahendra‘s camera work was highly appreciated for its excellence.<ref name="dhananjayan">{{cite journal | title=Mullum Malarum — Thorns also Blossom | author=[[G. Dhananjayan]] | journal=The Best of Tamil Cinema: 1977 to 2010 | year=2011 | page=pg. 12-14 | publisher=[[Galatta Media]]}}</ref> |
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==Themes== |
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''Mullum Malarum'' explores the concept that beautiful flowers need |
|||
sharp thorns to protect them. Umachandran’s novel and Mahendran’s |
|||
film transposes this into a sibling scenario. Much like in Bairavi, |
|||
Rajinikanth and his sister have abusive parents in childhood and it is up |
|||
to the brother to provide for his sister. But unlike in Bairavi, the siblings |
|||
here are not separated and this leads to a very protective attitude on |
|||
Kaali’s part for his sister Valli, bordering on obsessive love. There is a |
|||
remarkable scene where after lashing out at her in a foul temper during |
|||
the day, he applies henna to her feet at night when she is fast asleep. |
|||
Going beyond the central theme, the film is all about the extent of ego |
|||
that can be sustained. Kaali is clearly the community’s alpha male and he |
|||
does not hesitate to inform the world about this fact. His hangers-on |
|||
constantly massage his ego and he gets to play god when he gives |
|||
villagers a free ride—saving them miles of walking—on the power |
|||
plant’s trolley of which he is the suzerain. Thus, it is a bit of a shock to |
|||
his system when a presentable and educated male arrives in the shape of |
|||
the divisional engineer. Being a subordinate, Kaali cannot really oppose |
|||
him in any way and his frustration threatens to bubble over several times; |
|||
it finally does when he is suspended. His feelings manifest themselves in |
|||
a song where the lyrics go, ‘It doesn't matter whether Rama or Ravana |
|||
are reigning, I am the king of my own conscience,’ a clear reference to |
|||
the engineer's authoritarian yoke to which he is bound. When Kaali’s |
|||
arm gets amputated, he feels helpless and emasculated. Which is why the |
|||
engineer, his bête noire as it were, becomes an easy target. Kaali refuses |
|||
to see the benefits of his sister marrying above her station into wealth and |
|||
education, even when his wife Manga explains it in so many words to |
|||
him, or when his sister expresses her desire for the union. Kaali’s words |
|||
when Valli abandons her wedding proceedings to be with her brother are |
|||
revealing: ‘My sister has shown all of you that I am the most important |
|||
person in her life. I need only that happiness for the rest of my life. And |
|||
it is with that pride and arrogance that I give my permission for my sister |
|||
to marry.’<ref>{{cite web | url=http://books.google.co.in/books?id=3mzyPGSfwKMC&pg=PT105&dq=mullum+malarum&hl=en&sa=X&ei=zT6LUrLBBs3QrQeekYHICA&ved=0CC0Q6AEwAA#v=onepage&q=mullum%20malarum&f=false | title=Rajnikant: The Definitive Biography | date=2012 | accessdate=19 November 2013 | author=Naman Ramachandran}}</ref> |
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== Music == |
== Music == |
Revision as of 10:38, 19 November 2013
Mullum Malarum | |
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File:Mullum Malarum Poster.jpg | |
Directed by | J. Mahendran |
Written by | Based on novel by Umachandran |
Produced by | Venu Chettiyar |
Starring | |
Cinematography | Balu Mahendra |
Edited by | D. Vasu |
Music by | Ilaiyaraaja |
Release date | 15 August 1978 |
Running time | 135 min |
Country | India |
Language | Tamil |
Mullum Malarum ([Thorn and Flower] Error: {{Lang-xx}}: text has italic markup (help)) is a Tamil film directed by J. Mahendran. Starring Rajinikanth and Shoba in the lead, the film was filmed by Balu Mahendra and featured music composed by Ilaiyaraaja. The screenplay for the movie was based on a novel with the same name Mullum Malarum authored by Umachandran. The novel won the first prize in the Tamil magazine Kalki's novel contest held in connection with the celebration of the silver jubilee of Kalki in 1967.
Following the film's release, Rajinikanth received an appreciation letter from his mentor K. Balachandar, who praised his performance in the film. The letter was widely publicised.
Plot
Kali is a winch operator in a powerhouse station in the hills. The town is small one as near any powerhouse stations. Kali has a sister Valli. They are orphans but Kali brought up his sister Valli all by himself since their childhood. Kali by nature is kind of a person who shows affection to his sister but a nightmare for others. He does what he feels is right without regard for authority. A new Supervisor for the powerhouse, Kumaran, joins the town and conflicts start between Kali and Kumaran. The supervisor reprimands Kali for helping the villagers by allowing them to use the company winch without authorisation. Kali develops the theory that Kumaran does not like him. Kumaran in the meantime falls in love with Valli. In turn of events Kali loses his left hand in an accident and eventually fired from the job. This aggravates the conflict. At this juncture Kumaran asks Kali permission to marry Valli. Kali responds by announcing the next day that his sister would marry Moorthy, a much older man who had helped Kali in the past, but is a womanizer. Manga, Kali's wife supports Valli. Valli is conflicted — she likes Kumaran but unable to do anything beyond her Brother. Manga and the rest of the villagers decide to get Valli married to Kumaran without Kali's knowledge. The rest forms the emotional, sentimental and powerful climax.
Cast
- Rajinikanth as Kali
- Sarath Babu as Kumaran
- Phataphat Jayalaxmi as Manga
- Shoba as Valli
Production
Mahendran did not read Uma Chandran’s novel fully. He just read part of the novel and got impressed with the winch operator Kali, his affection towards his sister and the way he loses his hand to a tiger. From then onwards, the screenplay was developed by him, deviating from the novel's plot. He decided to make the film without melodrama, overacting, excessive dialogues, duets or regular climax, and developed the screenplay accordingly.
Rajinikanth was playing negative and villain’s characters in Tamil Cinema till then. Hence, Mahendran recommended Rajinikanth for the role to producer Venu Chettiar, he did not agree and asked for other options. However, Mahendran stuck to his decision and refused to direct the film if the producer was not willing to cast Rajinikanth in the lead role. Thus Mahendran and Rajinikanth began working together. Rajinikanth was paid only Rs.13,000 for acting in this film.
It was Kamal Haasan who recommended Balu Mahendra as the cinematographer to Mahendran for this film. After seeing the double positive of the film, producer Venu Chettiar expressed his displeasure to Mahendran, saying he was disappointed as the film had limited dialogues. He had chosen Mahendran to make this film since he had already proved himself as a successful screenplay and dialogue writer in Tamil Cinema. The producer and distributors did not expect a film with limited dialogues and more visuals from him.
Venu Chettiar decided to freeze this film's budget and did not provide finance when Mahendran wanted to shoot an important lead scene before the song 'Senthazham poovil...' with Sarath Babu and Shobha. However, Kamal Haasan, a good friend of Mahendran, came forward and provided funds to ensure that the scene was shot and included in the film, giving it the necessary depth. Mullum Malarum was shot in Sringeri, Ooty. Kundha and Chennai in about 30 days. The winch operating scenes were taken at Glenmorgan near Ooty. Balu Mahendra‘s camera work was highly appreciated for its excellence.[1]
Themes
Mullum Malarum explores the concept that beautiful flowers need sharp thorns to protect them. Umachandran’s novel and Mahendran’s film transposes this into a sibling scenario. Much like in Bairavi, Rajinikanth and his sister have abusive parents in childhood and it is up to the brother to provide for his sister. But unlike in Bairavi, the siblings here are not separated and this leads to a very protective attitude on Kaali’s part for his sister Valli, bordering on obsessive love. There is a remarkable scene where after lashing out at her in a foul temper during the day, he applies henna to her feet at night when she is fast asleep.
Going beyond the central theme, the film is all about the extent of ego that can be sustained. Kaali is clearly the community’s alpha male and he does not hesitate to inform the world about this fact. His hangers-on constantly massage his ego and he gets to play god when he gives villagers a free ride—saving them miles of walking—on the power plant’s trolley of which he is the suzerain. Thus, it is a bit of a shock to his system when a presentable and educated male arrives in the shape of the divisional engineer. Being a subordinate, Kaali cannot really oppose him in any way and his frustration threatens to bubble over several times; it finally does when he is suspended. His feelings manifest themselves in a song where the lyrics go, ‘It doesn't matter whether Rama or Ravana are reigning, I am the king of my own conscience,’ a clear reference to the engineer's authoritarian yoke to which he is bound. When Kaali’s arm gets amputated, he feels helpless and emasculated. Which is why the engineer, his bête noire as it were, becomes an easy target. Kaali refuses to see the benefits of his sister marrying above her station into wealth and education, even when his wife Manga explains it in so many words to him, or when his sister expresses her desire for the union. Kaali’s words when Valli abandons her wedding proceedings to be with her brother are revealing: ‘My sister has shown all of you that I am the most important person in her life. I need only that happiness for the rest of my life. And it is with that pride and arrogance that I give my permission for my sister to marry.’[2]
Music
The music was composed by Ilaiyaraaja. There are 5 songs in the movie.
No. | Song | Singers | Lyrics | Length (m:ss) |
1 | Adi Pennae | Jency Anthony | Panju Arunachalam | 4:30 |
2 | Maan Iname (Title Song) | Ilaiyaraaja | ||
3 | Nitham Nitham Nellu | Vani Jairam | Gangai Amaran | 2:54 |
4 | Raman Aandalum | S. P. Balasubrahmanyam, Anjali | 5:44 | |
5 | Senthalam Poovil Vanthadum | K. J. Yesudas | Kannadasan | 4:35 |
Senthalam poovil is one of the rare melodies and was captured in beautiful scenic locations. The song "Raman Aandalum..." (Whether Rama rules, or Ravana rules, i don't really care) was very famous for lyrics and Rajinikanth's fast stylish steps that was choreographed by Mugur Sundar. Adi Pennae is a typical song sung by soon to be married females imagining their future life. Nitham Nitham nellu soru is a song that is sung after their Marriage ( Kali and Manga) but a folk number.
Awards
- 1979 – Filmfare Award for Best Tamil Film
- 1979 – Tamil Nadu State Film Award for Best Film (First prize)
- 1979 – Tamil Nadu State Film Award Special Prize – Rajinikanth
Remakes
Year | Film | Language | Cast | Director |
---|---|---|---|---|
1979 | Venalil Oru Mazha | Malayalam | Jayan, Shoba, Srividya, Madhu | Sreekumaran Thampi |
1984 | Seethamma Pelli | Telugu | Mohan Babu, Revathi | Bapu |
1985 | Pyari Behna | Hindi | Mithun Chakraborty, Padmini Kolhapure, Tanvi Azmi, Vinod Mehra | Bapu |
References
- ^ G. Dhananjayan (2011). "Mullum Malarum — Thorns also Blossom". The Best of Tamil Cinema: 1977 to 2010. Galatta Media: pg. 12-14.
{{cite journal}}
:|page=
has extra text (help) - ^ Naman Ramachandran (2012). "Rajnikant: The Definitive Biography". Retrieved 19 November 2013.