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Although ''Moodu Pani'' is officially based on the novel ''Idhuvum Oru Viduthalai Thaan'',{{sfn|Dhananjayan|2011|page=45}} it has frequently been described as also having been inspired by [[Alfred Hitchcock]]'s thriller ''[[Psycho (1960 film)|Psycho]]'' (1960).<ref name="Venkateswaran">{{cite web | url=http://timesofindia.indiatimes.com/india/Balu-Mahendra-who-made-his-visuals-speak-dies-at-74/articleshow/30363139.cms | title=Balu Mahendra, who made his visuals speak, dies at 74 | work=[[The Times of India]] | date=14 February 2014 | accessdate=14 February 2014 | last=Venkateswaran | first=N. | archiveurl=https://web.archive.org/web/20140302182333/http://timesofindia.indiatimes.com/india/Balu-Mahendra-who-made-his-visuals-speak-dies-at-74/articleshow/30363139.cms | archivedate=2 March 2014}}</ref><ref>{{cite web | url=http://www.newindianexpress.com/states/tamil_nadu/Visual-Epics-to-Relive-the-Master-Storyteller/2014/02/14/article2055530.ece | archiveurl=https://web.archive.org/web/20140214082440/http://www.newindianexpress.com/states/tamil_nadu/Visual-Epics-to-Relive-the-Master-Storyteller/2014/02/14/article2055530.ece | title=Visual Epics to Relive the Master Storyteller | work=[[The New Indian Express]] | date=14 February 2014 | accessdate=20 September 2015 | archivedate=14 February 2014 | first=G. Babu | last=Jayakumar}}</ref> According to Rukmini Krishnan of ''[[Daily News and Analysis]]'', it was ''Psycho'' that inspired Mahendra to make ''Moodu Pani''.<ref>{{cite web | url=http://www.dnaindia.com/blogs/post-balu-mahendra-a-legend-that-lives-on-1963176 | archiveurl=https://web.archive.org/web/20141205155707/http://www.dnaindia.com/blogs/post-balu-mahendra-a-legend-that-lives-on-1963176 | title=Balu Mahendra: A legend that lives on | work=[[Daily News and Analysis]] | date=18 February 2014 | accessdate=20 September 2015 | archivedate=5 December 2014 | last=Krishnan | first=Rukmini}}</ref> While ''Idhuvum Oru Viduthalai Thaan'' and its author were acknowledged in the opening credits of the film, Hitchcock and ''Psycho'' were not.<ref name="moodupani">{{cite AV media | title=Moodu Pani | publisher=Raja Cine Arts | date=1980 | people=Mahendra, Balu (director) | medium=motion picture | location=India}}</ref> According to [[Sify]], a strong similarity between ''Moodu Pani'' and ''Psycho'' was that both films' male leads keep the skeletal remains of their respective mothers and continue to communicate with them.<ref name="sify" />
Although ''Moodu Pani'' is officially based on the novel ''Idhuvum Oru Viduthalai Thaan'',{{sfn|Dhananjayan|2011|page=45}} it has frequently been described as also having been inspired by [[Alfred Hitchcock]]'s thriller ''[[Psycho (1960 film)|Psycho]]'' (1960).<ref name="Venkateswaran">{{cite web | url=http://timesofindia.indiatimes.com/india/Balu-Mahendra-who-made-his-visuals-speak-dies-at-74/articleshow/30363139.cms | title=Balu Mahendra, who made his visuals speak, dies at 74 | work=[[The Times of India]] | date=14 February 2014 | accessdate=14 February 2014 | last=Venkateswaran | first=N. | archiveurl=https://web.archive.org/web/20140302182333/http://timesofindia.indiatimes.com/india/Balu-Mahendra-who-made-his-visuals-speak-dies-at-74/articleshow/30363139.cms | archivedate=2 March 2014}}</ref><ref>{{cite web | url=http://www.newindianexpress.com/states/tamil_nadu/Visual-Epics-to-Relive-the-Master-Storyteller/2014/02/14/article2055530.ece | archiveurl=https://web.archive.org/web/20140214082440/http://www.newindianexpress.com/states/tamil_nadu/Visual-Epics-to-Relive-the-Master-Storyteller/2014/02/14/article2055530.ece | title=Visual Epics to Relive the Master Storyteller | work=[[The New Indian Express]] | date=14 February 2014 | accessdate=20 September 2015 | archivedate=14 February 2014 | first=G. Babu | last=Jayakumar}}</ref> According to Rukmini Krishnan of ''[[Daily News and Analysis]]'', it was ''Psycho'' that inspired Mahendra to make ''Moodu Pani''.<ref>{{cite web | url=http://www.dnaindia.com/blogs/post-balu-mahendra-a-legend-that-lives-on-1963176 | archiveurl=https://web.archive.org/web/20141205155707/http://www.dnaindia.com/blogs/post-balu-mahendra-a-legend-that-lives-on-1963176 | title=Balu Mahendra: A legend that lives on | work=[[Daily News and Analysis]] | date=18 February 2014 | accessdate=20 September 2015 | archivedate=5 December 2014 | last=Krishnan | first=Rukmini}}</ref> While ''Idhuvum Oru Viduthalai Thaan'' and its author were acknowledged in the opening credits of the film, Hitchcock and ''Psycho'' were not.<ref name="moodupani">{{cite AV media | title=Moodu Pani | publisher=Raja Cine Arts | date=1980 | people=Mahendra, Balu (director) | medium=motion picture | location=India}}</ref> According to [[Sify]], a strong similarity between ''Moodu Pani'' and ''Psycho'' was that both films' male leads keep the skeletal remains of their respective mothers and continue to communicate with them.<ref name="sify" />


Mahendra, in his now defunct blog ''Moondram Pirai'', referred to the film as a suspense thriller.<ref name="BMBlog" /> While N. Venkateswaran of ''[[The Times of India]]'' described it as a [[psychological thriller]],<ref name="Venkateswaran" /> [[Behindwoods]] called it a "thriller of sorts".<ref>{{cite web | url=http://www.behindwoods.com/tamil-movies-cinema-news-14/a-tribute-to-balu-mahendra.html | title=The legend that was Balu Mahendra | publisher=[[Behindwoods]] | date=13 February 2014 | accessdate=22 September 2015 | archiveurl=https://web.archive.org/web/20140214100339/http://behindwoods.com/tamil-movies-cinema-news-14/a-tribute-to-balu-mahendra.html | archivedate=14 February 2014}}</ref> Film critic K.&nbsp;Hariharan of ''[[The Hindu]]'' notes that sexuality and the repression of desire were the dominant motifs in ''Moodu Pani'' as well as in Mahendra's later film ''Moondram Pirai'', and were expressed through the mysterious misty atmospheres of Ooty where the protagonists confronted their psychological antagonists.<ref name="uncompromising" /> He also noted that ''Moodu Pani'', like many of Mahendra's films, borrowed its themes and stylistic devices from [[French New Wave]] and [[New Hollywood]] styles of film-making.{{sfn|Rajadhyaksha|Willemen|2014|page=141}}
Mahendra, in his now defunct blog ''Moondram Pirai'', referred to the film as a suspense thriller.<ref name="BMBlog" /> While N. Venkateswaran of ''[[The Times of India]]'' described it as a [[psychological thriller]],<ref name="Venkateswaran" /> [[Behindwoods]] called it a "thriller of sorts".<ref>{{cite web | url=http://www.behindwoods.com/tamil-movies-cinema-news-14/a-tribute-to-balu-mahendra.html | title=The legend that was Balu Mahendra | publisher=[[Behindwoods]] | date=13 February 2014 | accessdate=22 September 2015 | archiveurl=https://web.archive.org/web/20140214100339/http://behindwoods.com/tamil-movies-cinema-news-14/a-tribute-to-balu-mahendra.html | archivedate=14 February 2014}}</ref> [[G. Dhananjayan]]'s 2011 book ''The Best of Tamil Cinema'' and Malaysian writer D. Devika Bai refer to ''Moodu Pani'' as a [[whodunit]] film.{{Sfn|Dhananjayan|2011|p=139}}<ref name="Devika">{{cite news | url=http://www2.nst.com.my/life-times/health/the-indian-hitchcock-1.566954 | title=The Indian Hitchcock | date=15 April 2014 | accessdate=24 April 2014 | last=Bai | first=Devika | newspaper=[[The New Straits Times]] | archiveurl=http://web.archive.org/web/20150221164730/http://www2.nst.com.my/life-times/health/the-indian-hitchcock-1.566954 | archivedate=21 February 2015}}</ref> K.&nbsp;Hariharan of ''[[The Hindu]]'' notes that sexuality and the repression of desire were the dominant motifs in ''Moodu Pani'' as well as in Mahendra's later film ''Moondram Pirai'', and were expressed through the mysterious misty atmospheres of Ooty where the protagonists confronted their psychological antagonists.<ref name="uncompromising" /> He also noted that ''Moodu Pani'', like many of Mahendra's films, borrowed its themes and stylistic devices from [[French New Wave]] and [[New Hollywood]] styles of film-making.{{sfn|Rajadhyaksha|Willemen|2014|page=141}}


==Music==
==Music==

Revision as of 14:53, 22 September 2015

Moodu Pani
File:Moodu pani poster.jpg
Theatrical poster
Directed byBalu Mahendra
Produced byRaja Cine Arts
Starring
CinematographyBalu Mahendra
Edited byD. Vasu
Music byIlaiyaraaja
Release date
6 November 1980[1]
Running time
131 minutes[1]
CountryIndia
LanguageTamil

Moodu Pani ([The Mist] Error: {{Lang-xx}}: text has italic markup (help)) is a 1980 Indian Tamil thriller film written, directed and filmed by Balu Mahendra and produced by Raja Cine Arts. Starring Shoba and Pratap K. Pothen in the lead roles, with N. Viswanathan, Gandhimathi, Mohan and Bhanu Chander in supporting roles, it is based on the 1978 novel Idhuvum Oru Viduthalai Thaan by Rajendra Kumar. The film tells the story of Chandru (Pothen), who has a strong hatred towards prostitutes and would kill any such woman whom he encounters. He falls in love with Rekha (Shoba) and believes marrying her will end his psychological distress.

Moodu Pani was the third directorial venture of Mahendra and his second Tamil film after Azhiyatha Kolangal (1979). It was the last film featuring Shoba to be produced before her death in the same year, and the first appearance of Mohan in a Tamil film; he would later become a successful actor in the industry. Moodu Pani was shot mostly in Bangalore, with additional filming taking place in Ooty. The soundtrack was composed by Ilaiyaraaja, this being his 100th film, and his brother Gangai Amaran was the main lyricist.

Moodu Pani was released on 6 November 1980 to critical acclaim, with particular praise for the way the story was told visually with minimum dependence on dialogue and acting, though Pothen's performance and Ilaiyaraaja's music also received wide praise. The film was a commercial success, running for over 250 days in theatres. It was also responsible for a resurgence of the thriller genre in Tamil cinema at that point. Although no print of Moodu Pani has survived, the film is still available on home video.

Plot

Chandru (Pratap K. Pothen), the managing director of an export company in Bangalore, has hated prostitutes since childhood, as he saw himself as the victim of a prostitute who had ruined his family by taking his father away from his mother. Raghunath (N. Viswanathan) is an inspector who knows Chandru and his mother. Raghunath's son Ravi (Bhanu Chander) is engaged to Rekha (Shoba).

Haunted by memories of the prostitute, Chandru lures two prostitutes to lonely places and murders them as he sees that woman in each of them. Rekha's female friend Pallavi comes to Bangalore to meet her, and telephones her for her residential address. The conversation is overheard by the Madam of a brothel (Gandhimathi), who misleads Pallavi. Instead of being taken to Rekha's house, Pallavi is taken to the brothel and forced into prostitution. Rekha and Raghunath search for Pallavi. Chandru comes to the same brothel and takes Pallavi in his car, but kills her. Rekha learns of Pallavi's murder through Raghunath; neither Rekha nor Raghunath are aware that Chandru is the murderer.

Still photographer Bhaskar (Mohan) takes pictures of his lover with a motorbike in the background. Chandru, who had come on that motorbike, had parked it there and killed a woman (Vijaychandrika) who enticed him near the same location, then rode away. Reading about the murder in a newspaper, Bhaskar shows Raghunath the pictures with the murderer's motorbike in the background. Raghunath investigates and learns that the owner has lent it to his friend.

Troubled by his constant anger, Chandru meets with a psychiatrist who advises him to marry soon so that he will no longer be lonely, saying the loneliness is leading him to dwell on his past and indulge in extreme acts. Chandru meets Rekha at a theatre and then at a book stall. He proposes to Rekha and even pleads with her to marry him. Surprised at his extreme pleading, Rekha politely informs him that she loves someone else (Ravi), and their marriage is already fixed. Raghunath is startled when Rekha tells him about Chandru's marriage proposal.

Chandru keeps following Rekha; one day when she goes to visit her friend, he makes her unconscious and takes her away to a bungalow in Ooty. When she regains consciousness, he tells her that he had purchased this house in Ooty only for her, and again asks her to marry him. When Rekha refuses and begs to be freed, he asks her to stay for at least a month so that she can understand him better, and then reduces it to a week. He makes all the arrangements to ensure that she cannot escape. One day, Rekha slams Chandru with a spade and runs away. However, he catches and traps her in the garage of his house, but is hospitalised for his injury.

Meanwhile, Raghunath visits Chandru's office for an enquiry and learns that he has gone to Ooty. He also meets Chandru's psychiatrist and learns about his hatred for prostitutes. He immediately connects this with the recent news of the prostitutes murdered in the city. He visits Chandru's house. Hidden in the garage, he finds the same bike photographed by Bhaskar. With his suspicions growing stronger, he arrives in Ooty to meet Chandru and visits the police station, where he finds Chandru's car. The area's inspector informs Raghunath that an unknown person came in the car to the hospital and was admitted. The car was brought to the police station for safety. Raghunath visits the hospital, but finds that Chandru has left. Raghunath is joined by Ravi, and both rush to Chandru's house.

Meanwhile, Rekha escapes from the garage and enters the room where Chandru claimed his mother stays. However, she finds only a skeleton and is cornered by Chandru. Ravi and Raghunath hear Rekha screaming and rush to the room. Seeing them, Chandru collapses and reveals that the skeleton is his mother's. Raghunath understands Chandru's love for his mother and his traumatic childhood, which had made him develop a hatred for women with loose morals. Chandru is arrested, while Rekha and Ravi unite.

Cast

Production

Moodu Pani, which was Balu Mahendra's third feature film and second in Tamil after Azhiyatha Kolangal (1979),[2] was based on Rajendra Kumar's 1978 novel Idhuvum Oru Viduthalai Thaan.[3][4] It was produced by Raja Cine Arts and edited by D. Vasu.[1] In addition to scripting and directing the film, Mahendra also served as the cinematographer.[3]

Pratap K. Pothen was cast as Chandru, the serial prostitute killer.[5] Shoba was chosen to play Rekha, the female lead. This was her last film to be produced; she died after filming was complete.[6] N. Viswanathan was cast as the police inspector Raghunath, and Bhanu Chander was chosen to play Rekha's fiancé Ravi (although he was not credited)[7] while Gandhimathi was cast as the madam of a brothel;[1] she would later play a similar role in Moondram Pirai (1982), also directed by Mahendra.[8] Actress Vijaychandrika appeared as a prostitute murdered by Chandru.[1] Mohan, who later became a leading actor in Tamil cinema, made his debut in Tamil with this film, playing the still photographer Bhaskar.[6] It was his second film under Mahendra's direction, following the Kannada film Kokila (1977).[9]

The film was shot in 30 days in Bangalore with 36,000 feet of negative film.[3] Shooting also took place at Ooty.[10] In the post-production phase, Mahendra had dubbed the voice for Pothen.[3] The final length of the film was 3,848 metres (12,625 ft).[1]

Themes

Although Moodu Pani is officially based on the novel Idhuvum Oru Viduthalai Thaan,[3] it has frequently been described as also having been inspired by Alfred Hitchcock's thriller Psycho (1960).[11][12] According to Rukmini Krishnan of Daily News and Analysis, it was Psycho that inspired Mahendra to make Moodu Pani.[13] While Idhuvum Oru Viduthalai Thaan and its author were acknowledged in the opening credits of the film, Hitchcock and Psycho were not.[7] According to Sify, a strong similarity between Moodu Pani and Psycho was that both films' male leads keep the skeletal remains of their respective mothers and continue to communicate with them.[14]

Mahendra, in his now defunct blog Moondram Pirai, referred to the film as a suspense thriller.[2] While N. Venkateswaran of The Times of India described it as a psychological thriller,[11] Behindwoods called it a "thriller of sorts".[15] G. Dhananjayan's 2011 book The Best of Tamil Cinema and Malaysian writer D. Devika Bai refer to Moodu Pani as a whodunit film.[16][17] K. Hariharan of The Hindu notes that sexuality and the repression of desire were the dominant motifs in Moodu Pani as well as in Mahendra's later film Moondram Pirai, and were expressed through the mysterious misty atmospheres of Ooty where the protagonists confronted their psychological antagonists.[10] He also noted that Moodu Pani, like many of Mahendra's films, borrowed its themes and stylistic devices from French New Wave and New Hollywood styles of film-making.[18]

Music

Untitled

The film's soundtrack and score were composed by Ilaiyaraaja in this, his 100th, film.[2][19] It was also his first film with Balu Mahendra.[20] The soundtrack cover shows a scene from the song "Yen Eniya Pon Nilave" involving Chandru (Prathap Pothan) and Rekha (Shoba). The scene shows his dream of being together with her, even though she dislikes him because he has kidnapped her and taken her to Ooty, and she seeks to escape.

Moodu Pani marked A. R. Rahman's first association with Ilaiyaraaja; the former (then known by his birth name Dilip) worked as a keyboard player in the film.[21] During the re-recording of Moodu Pani's soundtrack and score, Ilaiyaraaja fired his original keyboard player owing to the person's drinking behaviour.[a] At that time, another one of his troupe members asked Ilaiyaraaja to meet a boy named Dilip, who knew how to play the keyboard. Ilaiyaraaja agreed and sent for Dilip, whom he instructed regarding the notes and tune he had to play. Dilip, under Ilaiyaraaja's supervision, successfully completed the re-recording process.[22]

"Yen Iniya Pon Nilave" was the song that had the longest prelude and interlude using a guitar.[3] Ilaiyaraaja had composed the song "Ilaya Nila" which was initially supposed to feature in this film, but Balu Mahendra rejected it and chose "Yen Iniya Pon Nilave" instead.[23] "Ilaya Nila" was subsequently used in Payanangal Mudivathillai (1982).[24] According to A. S. Panneerselvan of Frontline, the dominant genre of the music used in Moodu Pani was "modern jazz with a sprinkling of avant-garde elements."[25] Ilaiyaraaja's brother Gangai Amaran was the main lyricist of the soundtrack, except for "Sing Swing" (written by Vijay Manuel); the lyricist of "Aasai Raja" is not credited.[26]

The songs were praised for their superior quality. Due to the popularity of its music, Moodu Pani became the first Tamil film for which a cutout was made for Ilaiyaraaja and displayed in theatres. According to G. Dhananjayan's 2011 book The Best of Tamil Cinema, Ilaiyaraaja was the first music director to have been honoured with a cutout.[3] In July 2011, D. Karthikeyan of The Hindu singled out the film's re-recording and ranked it alongside the music director's other films such as Mullum Malarum (1978), Uthiripookkal (1979), Moondram Pirai, Nayakan (1987) and Thalapathi (1991).[27] The first soundtrack edition did not feature "Aasai Raja", sung by Uma Ramanan;[28] the song was, however, included in the 1981 re-edition.[26] Elements of "Yen Iniya Pon Nilave" were incorporated by Ilaiyaraaja in his song "Baatein Hawa" from Cheeni Kum (2007).[29] A remix version of "Yen Iniya Pon Nilave" is featured on music artist M. Rafi's album Aasaiyae Alaipolae.[30]

Tracklist[26]
Side 1
No.TitleLyricsSinger(s)Length
1."Yen Iniya Pon Nilavae"Gangai AmaranK. J. Yesudas4:10
2."Paruva Kaalangalin"Gangai AmaranMalaysia Vasudevan, S. Janaki3:00
Side 2
No.TitleLyricsSinger(s)Length
1."Sing Swing"Vijay ManuelKalyan4:57
2."Aasai Raja"uncreditedUma Ramanan1:04

Reception

Moodu Pani was released on 6 November 1980 and was commercially successful, running for 250 days in theatres.[6] The film received critical acclaim, with critics praising the way the story was told visually with minimum dependence on dialogues and acting.[3] On 30 November 1980, Ananda Vikatan said, "Half the dialogues in the film were spoken by the camera... Balu Mahendra's camera challenges and asks when I am there, where is the need for screenplay and dialogues..."[3] Behindwoods called the film as "one of Tamil cinemas best in the film noir genre",[31] and rated Prathap Pothan's "psycho lover" performance as "among the finest performances in Tamil cinema history".[32] English journalist Phil Hardy in his book The BFI Companion to Crime (1997) said, "Finally, given the tendency in Indian cinema to remake successful Hollywood films, it is worth signalling Balu Mahendra's remake of Psycho in Tamil, Moodupani (1980)."[33]

Bhama Devi Ravi of The Times of India said, "With his easygoing manners, Pothan was brilliant as a serial killer, and the last few minutes of the film were rivetting."[34] In an interview with India Today, cinematographer Natarajan Subramaniam called Moodu Pani his "eureka moment".[35] G. Dhananjayan in his book The Best of Tamil Cinema called the film "a sleek thriller", appreciating it for its "quality of making and camera work".[3] In February 2014, S. Saraswathi of Rediff.com included Moodu Pani in her list, "The Best Films of Balu Mahendra".[36] K. S. Sivakumaran of Ceylon Today described the film as "halfway between artistic and merely entertaining."[37]

Legacy

"For some reason, despite names like Balu Mahendra and Yesudas being associated with this song, people get reminded of me when they listen to this. I have no idea what I did so well in this song to deserve that. This was also my last song with Shoba. I remember how we looked into the sky just before the line, ‘Panneerai Thoovum Mazhai’. Balu Mahendra made me listen to this song for the first time in Chola Sheraton. I learned just then that he got married to Shoba. I told him that this song was so beautiful, that it was a great wedding gift for him from Ilaiyaraaja."

 — Pratap K. Pothen on the song "En Iniya Pon Nilavae"[38]

After Sigappu Rojakkal (1978), there was a resurgence of the thriller genre in Tamil cinema, as evidenced by films like Moodu Pani.[3] According to Dhananjayan, the film became a "benchmark for every cinematographer on how it was shot frame by frame".[1] Pothen recalled in January 2015 that it was the simultaneous release of Moodu Pani and Varumayin Niram Sivappu (another film featuring him) that made him a star.[39] However, both Varumayin Niram Sivappu – which depicted Pothen as an eccentric director having an obsession for an actress – and Moodu Pani led to him being typecast in similar roles. "Both roles caught the public imagination, and I admit I cashed in when I was offered similar stuff. Now, unless I'm offered an unreasonable amount of money, I doubt I'll accept these roles," he said in a 2014 interview.[40]

In the film Iruvar Mattum, Azhagu (Abhay) keeps the skeletal remains of his mother and frequently talks to her; Sify compared this plot detail to that of Moodu Pani and Psycho.[14] Malathi Rangarajan of The Hindu, in her review of Mahendra's Julie Ganapathi (2003) a film about a mentally disturbed woman Julie (Saritha) who saves an accident victim Balakumaran (Jayaram) from death, nurses him in her own home and also falls in love with him, but holds him captive in her house, stated that the film had "shades" of Moodu Pani.[41] Behindwoods, in its review of the psychological thriller Nadunisi Naaygal (2011) said, "There are times when [Nadunisi Naaygal] reminds you of Balu Mahendra’s... Moodupani when the young man feels extremely possessive about the older woman."[42]

Mahendra's 2001 film En Iniya Pon Nilavae was named after the song of the same name.[43] Veena player Rajhesh Vaidhya's 2005 album was also titled En Iniya Pon Nilaave.[44] In 2006, Yesudas performed "Yen Iniya Pon Nilave" during a programme held at PSG College of Technology, organised by Helpline Arts Academy to sponsor the education of underprivileged children in and around Coimbatore.[45] In Vaaranam Aayiram (2008), when Suriya's character first sees Sameera Reddy's character and falls in love with her, he sings "Yen Iniya Pon Nilave" while playing the guitar.[46] Pothen expressed appreciation for Suriya's version of the song in a May 2015 interview with Sudhir Srinivasan of The Hindu, saying that he had "enjoyed it".[38] In June 2014 during Ilaiyaraaja's 71st birthday, singers Shweta Mohan and Aalap Raju collaborated to make a video in which they performed some of Ilaiyaraaja's songs as a tribute to him; one song was "Yen Iniya Pon Nilave".[47] A song in Thirudan Police (2014) written by Vaali, was named "Moodupani".[48] Although no print of Moodu Pani has survived,[49][50] the film is still available on home video.[51]

Notes

  1. ^ The name of the person is not mentioned by Ilaiyaraaja.[22]

References

  1. ^ a b c d e f g Dhananjayan 2011, p. 44.
  2. ^ a b c Mahendra, Balu (11 June 2013). "மூன்றாம் பிறை..." filmmakerbalumahendra.blogspot.in. Archived from the original on 16 December 2014. Retrieved 19 September 2015.
  3. ^ a b c d e f g h i j k Dhananjayan 2011, p. 45.
  4. ^ "List of Novels in Tamil Books Bibliography". Tamil Electronic Library. Archived from the original on 20 September 2015. Retrieved 20 September 2015.
  5. ^ Elias, Esther (4 April 2014). "The comeback man". The Hindu. Archived from the original on 20 September 2015. Retrieved 19 September 2015.
  6. ^ a b c Dhananjayan 2011, pp. 44–45.
  7. ^ a b Mahendra, Balu (director) (1980). Moodu Pani (motion picture). India: Raja Cine Arts.
  8. ^ Dhananjayan 2011, p. 72.
  9. ^ Kumar, G. S. (14 February 2014). "Balu Mahendra captured Bangalore in all its hues". The Times of India. Archived from the original on 20 September 2015. Retrieved 19 September 2015.
  10. ^ a b Hariharan, K. (15 February 2014). "The uncompromising spirit". The Hindu. Archived from the original on 16 December 2014. Retrieved 5 October 2014.
  11. ^ a b Venkateswaran, N. (14 February 2014). "Balu Mahendra, who made his visuals speak, dies at 74". The Times of India. Archived from the original on 2 March 2014. Retrieved 14 February 2014.
  12. ^ Jayakumar, G. Babu (14 February 2014). "Visual Epics to Relive the Master Storyteller". The New Indian Express. Archived from the original on 14 February 2014. Retrieved 20 September 2015.
  13. ^ Krishnan, Rukmini (18 February 2014). "Balu Mahendra: A legend that lives on". Daily News and Analysis. Archived from the original on 5 December 2014. Retrieved 20 September 2015.
  14. ^ a b "Review : Iruvar Mattum". Sify. Archived from the original on 20 September 2015. Retrieved 19 September 2015.
  15. ^ "The legend that was Balu Mahendra". Behindwoods. 13 February 2014. Archived from the original on 14 February 2014. Retrieved 22 September 2015.
  16. ^ Dhananjayan 2011, p. 139.
  17. ^ Bai, Devika (15 April 2014). "The Indian Hitchcock". The New Straits Times. Archived from the original on 21 February 2015. Retrieved 24 April 2014.
  18. ^ Rajadhyaksha & Willemen 2014, p. 141.
  19. ^ "Moodupani Songs". Raaga.com. Archived from the original on 30 March 2014. Retrieved 11 November 2013.
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  21. ^ "வரலாற்றுச்சுவடுகள் – திரைப்பட வரலாறு 710 – இளையராஜாவின் இசை வாரிசுகள்". Daily Thanthi (in Tamil). 20 July 2007.
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Bibliography

External links

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