Manal Kayiru -- Tamil Movie

Disclaimer: This is not a movie review of ‘Manal Kayiru’.

I found a website that had some of the old Tamil movies which I had not watched in a long time. There was 'Manal Kayiru' in there and it was so much fun to watch this movie. Visu had his heydays in the Tamil movie industry and this movie is one good example of why he was so highly successful at that time. A simple plot, a well knit screenplay, dialogues that sit well with the audience and a cast that fits the role to a ‘T’ are the hallmarks of a Visu movie and this movie is no different. The plot is a rather simple one of S.V.Sekar laying down 8 conditions for his future wife and the situations that arise once Visu gets S.V.Sekar married to a girl who does not satisfy even one of his conditions.

When I watched this movie, the one thing that immediately struck me is the way in which the maturity of the audience has increased over the years. A typical example of this happens during a dream sequence. S.V.Sekar has not yet seen the girl that his sister and Visu are constantly talking about and he starts dreaming about her. As he has not seen her photo till that point, the dream sequence does not show her face. All that it shows are the legs and the torso of a girl dancing in the beach. This directorial touch is very obvious but in the next scene, S.V.Sekar says it loud that he is not able to see her face to make sure that the audience understands why her face was not shown! I also could remember how during the days of Bheem singh, when the hero/heroine took a bottle of poison, not only it had ‘Visham’ written on it in bold fonts but the hero would also talk for a minute about the poison to ensure that everyone understood. Then came the period of Bhagyaraj when he just zoomed in on the bottle of poison (The ‘Visham’ in bold fonts was still intact) and then the person (both hero & heroine in the case of Bhagyaraj) would drink it without any dialogues. Then it was Balachander with his ‘touch’. The heroine would search for a bottle from a wooden shelf and would pour their contents into her mouth. No dialogues. No close up shots. No tears. Then finally, we have Bala. Scene one. He shows the heroine talking sadly to someone. Scene two. The camera pans into a room and we have the dead body of the heroine lying there (Remember Sethu?) No explicit explanations. No dramatizations. Just the facts. This change in direction would not have come about without the audience being introduced slowly to these changes. I am hoping that there would be even more changes that enables Tamil movie industry to come up with really world class movies.