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==Themes==
==Themes==
The film is based on the management concept [[transactional analysis]], which describes the ego state theory of personality. The relationship between Chandrakumar and Divya was more of a parent-child relationship in the beginning of the film. This relationship then changes to parent-adult and then to adult-adult.{{sfn|Dhananjayan|2011|page=103}} Karthik's character was part of a group that was involved in anti-government activities, albeit for good causes. Film critic Baradwaj Rangan drew out similarities on the character's motives to those from the Italian fantasy war drama film, ''[[The Night of the Shooting Stars]]'' (1982) and also from a [[Malayalam cinema|Malayalam film]] ''[[Unaru]]'' (1984).{{sfn|Rangan|2012|page=33}} Rangan also compared ''Mouna Ragam'' with [[J. Mahendran]]'s ''[[Nenjathai Killathe (1980 film)|Nenjathai Killathe]]'' (1980), which was also based on the same theme as the film.{{sfn|Rangan|2012|p=32}}
The film is based on the management concept [[transactional analysis]], which describes the ego state theory of personality. The relationship between Chandrakumar and Divya was more of a parent-child relationship in the beginning of the film. This relationship then changes to parent-adult and then to adult-adult.{{sfn|Dhananjayan|2011|page=103}} Karthik's character was part of a group that was involved in anti-government activities, albeit for good causes. Film critic Baradwaj Rangan drew out similarities on the character's motives to those from the Italian fantasy war drama film, ''[[The Night of the Shooting Stars]]'' (1982) and also from a [[Malayalam cinema|Malayalam film]] ''[[Unaru]]'' (1984).{{sfn|Rangan|2012|page=33}} Rangan also compared ''Mouna Ragam'' with [[J. Mahendran]]'s ''[[Nenjathai Killathe (1980 film)|Nenjathai Killathe]]'' (1980), which was also based on the same theme as the film.{{sfn|Rangan|2012|p=32}} The film's introduction credits feature photos of Revathi from her childhood through her teenage years, which according to rapper [[Blaaze]], make viewers "understand the girl, the character, her nature."<ref>http://www.thehindu.com/todays-paper/tp-features/tp-cinemaplus/why-i-like-mouna-ragam/article3023881.ece</ref>


''Mouna Ragam'''s [[background music]], also composed by Illayaraja, has been opined by critics to be synonymous with the film's scenes and themes. According to the book, ''The Cultural Study of Music: A Critical Introduction'' by Clayton, Herbert and Middleton, the picturisation of "Oho Megam Vandhadho" resembled [[Musical theatre|Broadway]] and MTV style of singing and dancing, while the main tunes combines American music with Indian vocals provided by S. Janaki. In the wedding scene between Chandrakumar and Divya, [[Sarangi]] and [[Nadaswaram]] are utilized. In the sequences showing the couple sightseeing in Delhi, light synth-based music is used to depict them as modernized tourists touring their own country. The restaurant scene featuring Karthik and Revathi has the Sitar music awkwardly played, indicating the emotions of the couple. Flamenco sounds were used for the fight sequence featuring Karthik beating up the MP's son.{{sfn|Clayton|Herbert|Middleton|2003|page=292-294}}
''Mouna Ragam'''s [[background music]], also composed by Illayaraja, has been opined by critics to be synonymous with the film's scenes and themes. According to the book, ''The Cultural Study of Music: A Critical Introduction'' by Clayton, Herbert and Middleton, the picturisation of "Oho Megam Vandhadho" resembled [[Musical theatre|Broadway]] and MTV style of singing and dancing, while the main tunes combines American music with Indian vocals provided by S. Janaki. In the wedding scene between Chandrakumar and Divya, [[Sarangi]] and [[Nadaswaram]] are utilized. In the sequences showing the couple sightseeing in Delhi, light synth-based music is used to depict them as modernized tourists touring their own country. The restaurant scene featuring Karthik and Revathi has the Sitar music awkwardly played, indicating the emotions of the couple. Flamenco sounds were used for the fight sequence featuring Karthik beating up the MP's son.{{sfn|Clayton|Herbert|Middleton|2003|page=292-294}}

Revision as of 12:35, 16 October 2014

Mouna Ragam
Film poster
Directed byMani Ratnam
Written byMani Ratnam
Produced byG. Venkateswaran
Starring
CinematographyP. C. Sreeram
Edited by
Music byIlaiyaraaja
Production
company
Sujatha Productions (P) Ltd.
Release date
15 August 1986
Running time
133-145 minutes[a]
CountryIndia
LanguageTamil

Mouna Ragam ([Silent Symphony] Error: {{Lang-xx}}: text has italic markup (help), also spelt Mouna Raagam) is a 1986 Indian Tamil romantic drama film written and directed by Mani Ratnam. The film stars Mohan, Revathi and Karthik in the lead roles. The film narrates about the married life of Divya and Chandrakumar, who is puzzled by his wife's arrogant nature, which is because of her former lover, Manohar, who was shot dead. Whether Divya clings on to her dead past or comes to terms with the present and unites with Chandrakumar forms the rest of the story.

The soundtrack and background score were composed by Ilaiyaraaja and the cinematography was handled by P. C. Sreeram. The film was shot mostly in Chennai, with additional filming taking place in Delhi and Agra. Mouna Ragam released on 15 August 1986 (India's Independence Day). The film was critically acclaimed upon release. It received the National Film Award for Best Feature Film in Tamil in 1987 and Ratnam won the Filmfare Award for Best Tamil Director. Mouna Ragam was dubbed in Telugu under the same title and it also became a successful venture.

The film was remade into the Hindi film Kasak in 1992, starring Rishi Kapoor, Neelam Kothari and Chunkey Pandey, and in Kannada as Chandrodaya with Ramesh Aravind and Shivrajkumar.[3][4]

Plot

Divya (Revathi) is a carefree and vivacious college girl from a conservative family. Her father works for the government and is very strict about her conduct. One day, she learns about a marriage proposal for her, which her parents are very much looking forward to. Unwilling to get married, she deliberately comes home late on the day the groom's family comes to meet her, hoping that they will reject her. To her surprise, the groom Chandrakumar (Mohan) and his family are patiently waiting to meet her. Divya talks arrogantly to Chandrakumar in an attempt to make him dislike her, but he ends up liking her and agrees to the marriage. Divya refuses the marriage, but when her father suffers a heart attack, the family pleads with her to accept so that he can recover soon. She succumbs to family pressure and marries Chandrakumar.

Post marriage, Chandrakumar takes Divya to Delhi. Unable to come to terms with her marriage, Divya snubs her well-meaning husband at every instance. This culminates in her asking for divorce when Chandrakumar asks her what she wants as a wedding gift. A startled Chandrakumar probes her for a reason and her flashback unfolds where she was in love with another man named Manohar (Karthik) whom she met was during her college days. He, along with his gang, beat up an MP's son and robs his money. Considering it to be a gang theft, she reports to the police. But later, she learns that because the MP's son had run his car over a poor girl, the theft was done to arrange money for the girl's treatment. After knowing this, she feels guilty of framing him and bails him out of the police station.

Manohar falls for her and tries to win her love. Divya initially rejects him but reciprocates his feelings in due course. Manohar is a member of a revolutionary troop, which plans an illegal rally. Divya does not approve his participation in such unlawful activities and persuades him not to attend the rally. Manohar urges her to marry him the next day. On the day of the marriage, Manohar is falsely charged for participating in the previous day's rally. As he is arrested and taken away by the police, he attempts to escape and runs to the marriage registrar's office where Divya is waiting for him. In the following chase, the policeman accidentally shoots him and Manohar dies in front of Divya, leaving her shattered.

Chandrakumar is ready to overlook Divya's past and live with her, but she is unable to accept another man in her life. When both approach a lawyer (Kanchana) for divorce, she tells them that as per the Hindu Marriage Act, since they are newlyweds, they have to wait for at least a year before they can file for divorce. Divya is therefore forced to live with Chandrakumar and she slowly starts to like him. But Chandrakumar ignores her completely, since after a year she will be gone and he does not want to get used to her.

Later, when Chandrakumar suspends the union leader of his company's labourers, they attack him. Divya struggles to save his life. After his discharge from hospital she takes care of him as a wife. Chandrakumar however neglects it, which hurts her. Divya finally understands her love for him and tries to reveal it by wearing the anklets he gave her just after marriage. But he is irritated by her immature acts and asks her to leave to her parent's home and even books tickets for her travel. Until Divya leaves the house both of them do not share their feelings for each other. While she is about to depart, Chandrakumar gives her the divorce papers, which she asked as a gift. Divya bursts out and finally admits that she loves him and she would wait for him till he realises it and leaves. Chandrakumar, finally coming to terms with his repressed feelings, gets her out of the train and both return home happily.

Cast

  • Mohan as Chandrakumar
  • Revathi as Divya
  • Karthik as Manohar
  • Ra. Sankaran as Chandramouli, Divya's father
  • V. K. Ramasamy as Chandrakumar's boss
  • Kanchana as the lawyer
  • Vani as Divya's Mother
  • Bhaskar as Divya's brother
  • Kalaiselvi as Divya's sister
  • Baby Sonia as Divya's sister

Production

Development

When the last schedule of Mani Ratnam's debut film Pallavi Anupallavi (1983) was stretched inordinately to a year, he began working on his next script titled Divya, which eventually became Mouna Ragam, his fifth film.[5] The story of Divya was that of a girl who goes to an alien place and does not know the language.[6] The inspiration for the film's title came from the song "Naan Paadum Mouna Ragam" from Ratnam's own film Idaya Kovil (1985).[7] Although Mouna Ragam was Ratnam's fifth film as director, he considered it practically his second as it was done the way he thought it aught to be done. Even though he began working on the script during Pallavi Anupallavi, Mouna Ragam did not enter production until after the release of Idaya Kovil.[8]

Mouna Ragam was also Ratnam's first film with P. C. Sreeram as the cinematographer.[3][9] He previously opted for Sreeram in Idaya Kovil, but the collaboration could not materialise then. Editing was jointly handled by B. Lenin and V. T. Vijayan. Thota Tharani was the film's art director.[8][1]

Casting

"To me, it was very clear that Mouna Raagam was about this relationship within an arranged marriage. I just needed to rationalize the heroine's behaviour, and Karthik was the rationalization. If I'd done the film years later, I would have left out the Karthik character. But at that point of time, I did something that was entertaining and would reach a wider audience."

—Director Mani Ratnam on the inclusion of Karthik in an interview with film critic Baradwaj Rangan.[10]

Ratnam cast Mohan, with whom he had previously worked in Idaya Kovil, as the male lead. Revathi, who had previously collaborated with Ratnam in Pagal Nilavu (1984), was chosen to play the female lead. Ratnam wrote Mouna Ragam with Anant Nag and Supriya Pathak in mind initially. However, due to the delay in starting the film because of his prior commitments, the project failed to take off back then. When Ratnam decided to revive the film, he decided to include Revathi as the female lead after being mainly impressed with her performance with her role in Mann Vasanai (1983).[8] Ra. Sankaran, V. K. Ramasamy, Kanchana, Vani, Bhaskar, Kalaiselvi and "Baby" Sonia were cast in supporting roles.[2]

Ratnam stated that the only difference between Divya and Mouna Ragam was the inclusion of the portion featuring Karthik, which was not there in the earlier screenplay. Divya was the story of how a girl settles into an arranged marriage and had no mention of the girl's life before her marriage.[8] But then Ratnam realised that the story needed to satisfy a wider section of the audience. So he decided to give them something that would not make them question the character, rather accepting the character as a plot point. This lead to the film dealing with the concept of an arranged marriage — two strangers suddenly thrown together, and how they can find a way to adjust. It was a point Ratnam had resisted at first, but he reconsidered his decision as it gave an easier reason for the heroine's resistance to the arranged marriage.[8]

Filming

Since the film was set indoors in Delhi for most parts, both Ratnam and Sreeram wanted the indoor portions to look as lively as the outdoor ones as there were not too many characters, and they did not want it to look like a play. So Sreeram came up with the idea of backlighting inside a house. Thotta Tharani found a house in Chennai which had a lot of sunlight coming in and it was different to an extent that it was convincing enough to have a setting similar to the houses in Delhi, and gave Sreeram the freedom to use his idea. Mouna Ragam also became Ratnam's first film to make excessive use of staccato dialogues, which became his trademark style in his later films.[11] In a bid to bring down the production cost, the film's production unit used to get food cooked at the producer's home.[12]

The song "Panivizhum Iravu" was shot at the Taj Mahal, while scenes from "Mandram Vandha" were shot at the India Gate and Sikandra, Agra.[13] Mohan's voice was dubbed by S. N. Surendar.[14]

Themes

The film is based on the management concept transactional analysis, which describes the ego state theory of personality. The relationship between Chandrakumar and Divya was more of a parent-child relationship in the beginning of the film. This relationship then changes to parent-adult and then to adult-adult.[15] Karthik's character was part of a group that was involved in anti-government activities, albeit for good causes. Film critic Baradwaj Rangan drew out similarities on the character's motives to those from the Italian fantasy war drama film, The Night of the Shooting Stars (1982) and also from a Malayalam film Unaru (1984).[16] Rangan also compared Mouna Ragam with J. Mahendran's Nenjathai Killathe (1980), which was also based on the same theme as the film.[17] The film's introduction credits feature photos of Revathi from her childhood through her teenage years, which according to rapper Blaaze, make viewers "understand the girl, the character, her nature."[18]

Mouna Ragam's background music, also composed by Illayaraja, has been opined by critics to be synonymous with the film's scenes and themes. According to the book, The Cultural Study of Music: A Critical Introduction by Clayton, Herbert and Middleton, the picturisation of "Oho Megam Vandhadho" resembled Broadway and MTV style of singing and dancing, while the main tunes combines American music with Indian vocals provided by S. Janaki. In the wedding scene between Chandrakumar and Divya, Sarangi and Nadaswaram are utilized. In the sequences showing the couple sightseeing in Delhi, light synth-based music is used to depict them as modernized tourists touring their own country. The restaurant scene featuring Karthik and Revathi has the Sitar music awkwardly played, indicating the emotions of the couple. Flamenco sounds were used for the fight sequence featuring Karthik beating up the MP's son.[19]

The concept of the heroine moving to a strange place where she does not know the language spoken there is a theme replicated in Mani Ratnam's later films like Roja (1992) and Bombay (1995). The theme shows the heroine in a dilemma that since she does not know the language, as she has settled in Delhi, she is hardly able to socialise with the people there and the only person with whom she can socialise is the person with whom she is at loggerheads.[20]

Soundtrack

Untitled

The soundtrack consists of five songs composed by Ilaiyaraaja, with lyrics by Vaali.[21] According to the book The Cultural Study of Music: A Critical Introduction, the song "Oho Megam Vandhadho", picturised on Divya dancing with several other teenage girls, is a reworking of "Singin' in the Rain".[22]

G. Dhananjayan in his book, The Best of Tamil Cinema said, "Illayaraja's sensitive and wonderful music showcased his urban side once again in this film." further stating all the songs became evergreen classics in Tamil Cinema.[15] Filmmaker Poongothai Chandrahasan said, "I like the way "Nilave Vaa" is shot. It's not like they go into some exotic location but this sort of flows seamlessly, integrated into the narrative. And Ilaiyaraja's music is such that even when you listen to it ten years later, you still remember the song."[23] S. Saraswathi of Rediff.com described "Nilaave Vaa" as "a timeless classic that you never tire of." and concluded that, "the soft romantic lyrics, with SPB’s soothing vocals, makes this one of his most memorable songs."[24] Behindwoods.com mentions that, "While all the songs in this movie are equally popular, "Nilaave Vaa", "Panivizhum Iravu" and "Mandram Vandha" stand out for their rendering as well as their composition."[25] In its review on "Nilave Vaa", Behindwoods.com says, "It is difficult to think of another song that lays out the feelings of a lovelorn heart in a better way. With lines like ‘poonthaene needhane sollil vaithaay mullai’, this song is a regular even nowadays in the late night FM circuit."[26] "The hit number "Mandram Vandha" was later adapted by Ilaiyaraaja as the Hindi song "Cheeni Kum" in the 2007 film of the same name.[27]

No.TitleSingersLength
1."Nilaavae Vaa"S. P. Balasubrahmanyam4:36
2."Mandram Vandha"S. P. Balasubrahmanyam4:46
3."Chinna Chinna Vanna Kuyil"S. Janaki4:24
4."Oho Megam Vandhadho"S. Janaki4:25
5."Panivizhum Iravu"S. Janaki, S. P. Balasubrahmanyam4:32

Release

Mouna Ragam was released on 15 August 1986, coinciding with India's Independence Day.[1] Despite opening to an initially poor response at the box office, due to positive critical reviews and favourable word of mouth, it picked up after two weeks and became a large commercial success, eventually running for over 175 days in theatres.[15] The film was lauded notably for its realistic portrayal of urban Tamilians.[28] The Telugu-dubbed version, also titled Mouna Ragam, was released on 14 February 1987,[29] and was also a success.[15]

The film was screened at the 11th International Film Festival of India and was the only Tamil film entrant at the film festival.[30]

Critical reception

On 31 August 1986, Ananda Vikatan, in its review, said, "Revathy [sic] has done an outstanding job in the film... Mohan played the role with maturity... The film does not have any commercial masalas, yet it creates an impact due to the camera work and music."[31] Upperstall.com said, "Mouna Ragam is looked at as Mani Ratnam's breakthrough film and though somewhat dated in places in terms of both content and style, the film has some of his finest moments." The critic praised Revathi's performance as among her "best ever", and added "As the gentle, kind and patient husband, Mohan is not bad even if as mentioned, he is too good to be true." and concluded, "All in all, Mouna Ragam is well, well worth a watch even today."[3]

Pavithra Srinivasan of Rediff.com said, "It took a Mani Ratnam to move away from cliched romantic dialogues and capture subtle nuances that add so much richness to the story, introduce proper, three dimensional characters that lived breathed and sorrowed like everyone else."[32] She also praised Revathi's performance in the film, "Her slender frame and expressive eyes served Revathy [sic] very well in the film: the young girl grieving for her lover, the furious wife forced to be happy with her marriage, her veiled insolence and outright insults -- and then, the change of heart as she realises how good a man her husband really is. Revathy [sic] nails it all effortlessly."[33] Behindwoods.com said, "There are some movies which remain etched in your thoughts not because they dazzle you with wizardry but because they make their presence felt in a quiet manner. Mounaragam fits into the second category." and concluded, "In today’s world, where youngsters have more freedom to choose their life partners, Mounaragam may seem anachronistic. Yet, it is a film to be watched to understand the nuances of a good and lasting marriage."[34]

Accolades

Rediff, in its article, The most memorable Mani movies, said, "This was arguably the film that announced Mani Ratnam to the Tamil film industry as a talent to watch out for. An excellent script by Ratnam himself, cinemotagraphy by PC Sriram and a lilting score by Illayaraja made it a hit with both critics and moviegoers."[35] Filmmaker Poongothai Chandrahasan, in an interview with The Hindu said, "Obviously, one of the most important things about a film that makes it a classic is that it has to stay in your mind. When most Tamil movies were doing a girl-meets-boy-and-falls-in-love routine, this was so different. That too, it was done within the commercial format. Mani Ratnam had the guts to make a film that interesting with a different storyline. Also the way P. C. Sriram shot the film was so beautiful."[23]

Ceremony Award Category Nominee(s) Outcome
34th National Film Awards National Film Awards Best Regional Film
Won[36]
36th Filmfare Awards South Filmfare Awards South Best Tamil Director Mani Ratnam Won[37]

Legacy

Mouna Ragam inaugurated the love story genre set outside the state of Tamil Nadu.[38] The concept of soft-focus shots, flare filters, backlit sequences became popular after their introduction to Tamil cinema through this film. The concept was continued by Ratnam in his later films, notably Nayakan (1987) and Agni Natchathiram (1989).[39] The film catapulted Karthik to stardom.[40]

In one scene in the parody film Thamizh Padam (2010), the hero (Shiva) attempts to propose to the heroine (Disha Pandey), spoofing Manohar's attempt to propose to Divya in the film.[41] A Telugu film, also titled Mouna Ragam was released in 2010. The films have nothing in common apart from their names.[42] The restaurant scene between Karthik and Revathi was recreated by Prasanna and Lekha Washington in the film Kalyana Samayal Saadham (2013).[43]

Notes

  1. ^ G. Dhananjayan's The Best of Tamil Cinema gives the runtime as 133 minutes,[1] while Baradwaj Rangan's Conversations with Mani Ratnam gives the runtime as 145 minutes.[2]

References

Citations

  1. ^ a b c Dhananjayan 2011, p. 102.
  2. ^ a b Rangan 2012, p. 289.
  3. ^ a b c "Mouna Ragam". Upperstall.com. Archived from the original on 15 October 2014. Retrieved 15 October 2014. {{cite web}}: |archive-date= / |archive-url= timestamp mismatch; 9 February 2014 suggested (help)
  4. ^ "Chandrodaya". Oneindia.in. Archived from the original on 16 October 2014. Retrieved 16 October 2014.
  5. ^ Rangan 2012, p. 22.
  6. ^ Rangan 2012, p. 28.
  7. ^ Rangan 2012, p. 29.
  8. ^ a b c d e Rangan 2012, p. 31.
  9. ^ "Mani ratnam's 10 biggest contributions - Cinematographers". Behindwoods.com. Archived from the original on 15 October 2014. Retrieved 15 October 2014. {{cite web}}: |archive-date= / |archive-url= timestamp mismatch; 22 September 2013 suggested (help)
  10. ^ Rangan 2012, p. 32–33.
  11. ^ Rangan 2012, p. 36.
  12. ^ "How Mani Ratnam cut production cost?". The Times of India. 20 April 2014. Archived from the original on 15 October 2014. Retrieved 15 October 2014. {{cite web}}: |archive-date= / |archive-url= timestamp mismatch; 20 July 2014 suggested (help)
  13. ^ "Mouna Raagam". Where Was It Shot. Archived from the original on 16 October 2014. Retrieved 16 October 2014.
  14. ^ Ramanan, V. V. (14 March 2008). "Cine quiz". The Hindu. Archived from the original on 16 October 2014. Retrieved 16 October 2014.
  15. ^ a b c d Dhananjayan 2011, p. 103.
  16. ^ Rangan 2012, p. 33.
  17. ^ Rangan 2012, p. 32.
  18. ^ http://www.thehindu.com/todays-paper/tp-features/tp-cinemaplus/why-i-like-mouna-ragam/article3023881.ece
  19. ^ Clayton, Herbert & Middleton 2003, p. 292-294.
  20. ^ Shankar 2012, p. 113-114.
  21. ^ "Mouna Raagam Songs". Raaga.com. Archived from the original on 16 October 2014. Retrieved 10 March 2012.
  22. ^ Clayton, Herbert & Middleton 2003, p. 293.
  23. ^ a b "Why I like... Mouna Raagam". The Hindu. 18 January 2008. Archived from the original on 16 October 2014. Retrieved 16 October 2014.
  24. ^ "The Top 10 songs of S P Balasubrahmanyam". Rediff.com. 9 June 2014. Archived from the original on 16 October 2014. Retrieved 16 October 2014.
  25. ^ Pratap. "LEGENDS' BIRTHDAY SPECIAL!". Behindwoods.com. Archived from the original on 16 October 2014. Retrieved 16 October 2014.
  26. ^ Pratap. "THE MASTER AND THE MAESTRO". Behindwoods.com. Archived from the original on 16 October 2014. Retrieved 16 October 2014.
  27. ^ "Old is the new tune for Bollywood". The Times of India. 25 September 2007. Archived from the original on 16 October 2014. Retrieved 16 October 2014.
  28. ^ Bhaskaran, Gautaman (7 September 2010). "Venice honours Mani Ratnam". Hindustan Times. Archived from the original on 15 October 2014. Retrieved 15 October 2014.
  29. ^ "Mouna Ragam (1987)". APTalkies.com. Archived from the original on 16 October 2014. Retrieved 16 October 2014. {{cite web}}: |archive-date= / |archive-url= timestamp mismatch; 25 July 2014 suggested (help)
  30. ^ Jain, Madhu (15 January 1987). "Good, bad and ugly - 11th IFFI: Picture of Indian cinema bleak, harvest of films better". India Today. Archived from the original on 16 October 2014. Retrieved 16 October 2014.
  31. ^ Dhananjayan 2011, p. 104.
  32. ^ "Looking at Mani Ratnam's landmark movies". Rediff.com. 9 June 2010. Archived from the original on 16 October 2014. Retrieved 16 October 2014. {{cite web}}: |archive-date= / |archive-url= timestamp mismatch; 6 October 2014 suggested (help)
  33. ^ "Revathi in Mouna Ragam". Rediff.com. 14 June 2010. Archived from the original on 16 October 2014. Retrieved 16 October 2014.
  34. ^ "Classic Movie Article - Mouna Ragam". Behindwoods.com. Archived from the original on 15 October 2014. Retrieved 15 October 2014. {{cite web}}: |archive-date= / |archive-url= timestamp mismatch; 6 June 2014 suggested (help)
  35. ^ "The most memorable Mani movies". Rediff.com. 12 January 2007. Archived from the original on 16 October 2014. Retrieved 16 October 2014.
  36. ^ "Directorate of Film Festival" (PDF). Directorate of Film Festivals. Retrieved 11 February 2011.
  37. ^ Collections, p 394
  38. ^ Rajadhyaksha & Willemen 2014, p. 476.
  39. ^ The Hindu 2000, p. 288.
  40. ^ "CUTEST ONSCREEN LOVERS". Behindwoods.com. Archived from the original on 16 October 2014. Retrieved 16 October 2014.
  41. ^ "Tamil Padam". Sify. Archived from the original on 16 October 2014. Retrieved 16 October 2014.
  42. ^ "This is no Mouna Ragam". Rediff.com. 8 April 2010. Archived from the original on 16 October 2014. Retrieved 16 October 2014.
  43. ^ J. Rao, Subha (28 December 2013). "Well-served". Archived from the original on 16 October 2014. Retrieved 16 October 2014. {{cite web}}: |archive-date= / |archive-url= timestamp mismatch; 29 December 2013 suggested (help); Unknown parameter |nespaper= ignored (|newspaper= suggested) (help)

Bibliography

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