Maran again places the camera so that they’re very close to the leaders and the people around them. The other scene is when the leaders of the two parties - ruling and opposition - address the media. It involves votes for money and it’s not the kind of stuff you needed to think of as being part of such a scene with this gaana song going on or crowd mourning the death of a person. It’s a lovely bit of humour and very practical stuff. Finally, Maran reveals what this bit of information is. What Maran does is instead of telling us what this information is right away, he makes one audience member pass it on to another and then another and finally it comes to the person who is right in front, Baasha’s mother. And this bit of information is being passed on from member to member of the audience. But while this is happening, there is a piece of information regarding a by-election that plays a major role in the movie. That’s interesting because we hear the whole song and the interaction between the various men as they look at each other and talk about various things while singing the song. We just see the camera being stationary and observing it like a stage play. That is the camera is stationary in front of this group of men who are singing the song. He stages gaana songs, they kind of are a combination of gaana and oppaari and they’re being staged like a stage play. I want to mention two more scenes that stood out in terms of staging. This is kind of surprising that Maran is not just a script level filmmaker, but he has some amount of cinematic ambition as well. There is a lot of precision planning needed. You have to make sure that nothing goes out of place. The actors have to make their mark, the technicians have to hit their mark. Taking a single shot means that you have to have a lot of rehearsals. But for a first-time filmmaker, it’s a bit of an indulgence. He makes the boy go back and forth, his frustration keeps multiplying and the camera keeps following this boy’s movement. All that was needed is to make him stand and make a call.īut Maran has a way of staging the scene. This boy, out of sheer frustration, is calling somebody. There are some laugh out loud lines, involving a boy erecting a shamiyana that are an absolute riot. This film is that rare message movie, which shows that just because you want to deliver a message doesn’t mean you can’t have fun. What would have been boring monologues between people become dialogues, interactions about this particular issue that he has planted at the beginning of the film. But what Maran does, very interestingly, even in his writing of the screenplay, he places these monologues in the mouths of people while they’re in the midst of bigger crowds.
Because this is a message movie, you expect a lot of speechifying. Now, because his name is Baasha, will he get a Muslim burial or his connections to Hinduism and Christianity result in those traditions being followed.
This theme is elaborated by the fact that we first see a cop whose name was Baasha and his father is Ibrahim. The problem is always those who use religion for their own selfish, anti-social and anti-Indian purposes. And there is a fable narrated early on that religion is never the problem. The very way the title is written, the font, has the symbol of all major religions of India - Hinduism, Islam and Christianity. The fact that some things here are interestingly staged was a nice surprise. He rarely discusses camera work or editing. He focuses mainly on the story and actors. I don’t know if he does it deliberately or not. That was surprising to me because I’ve rarely seen him discuss technical aspects of filmmaking in his reviews. Not just script level ambition, where I am going to put everything on screen and make the actors deliver their lines. But for a first-time filmmaker to even attempt such things shows a certain level of cinematic ambition. When I say cinematic finesse, I’m not talking at the level that great directors have.
#COLOR FINESSE 3 REVIEW MOVIE#
For what Maran has done is that he’s made a message movie and shown that you can make such a movie with some amount of cinematic finesse, without boring the audience. And a smaller salute from the cinephile community. First, a big salute from the critics’ community. Whenever a critic rips apart a movie, there is always someone who asks, ‘well, if you know so much about making movies, why don’t you make your own f-ing movie?’ So, after ripping apart numerous movies and getting rather legendary for it, Maran has gone and made his own movie.
Cast: Elamaran, Jeyaraj, Anil Kumar, Muthuraman, Aadukalam Naren, Velu Prabhakaran, Radha Ravi, Pasi Sathya, Seshu, Vijaya, Charles Vinoth
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