When the crowd settles, the light dims, the dreamy shaft of ray hits the screen, and the words appear, “A film by Mani Ratnam,” it is not to announce the creators name but to remind you that what is in store is a singular vision. Characters speak in hushed tones and with poetic minimalism, themes rich enough to rival mythology, a vivid and honest dissection of modern relationships, the powers that make and unmake them, and frames lit with intent and precision, these are but some aspects which are unmistakably Mani Ratnam.
With a rich and versatile filmography that extends across decades, Mani Ratnam keeps reinventing himself. From capturing how blossoms even within the mechanical shackles of an arranged marriage system in Mouna raagam to portraying the chaotic trepidations inherent in a live-in relationship in Oh kaadhal kanmanithe director evolves with the times. However, like Van Gogh captures a starry night and a weat field with the same colours, Mani Ratnam captures his evolving ideas through his signature vision. A vision that makes him one of the greatest autuers of Indian cinema. But, as curious rays of carefully selected photons make up the shaft of light inside a theatre, Mani Ratnam’s vision is made up of several distinct characteristics. And here we try to unravel some.
Game of Thrones
In a key scene in Game of Thrones, a character says, “Power lies where men believe it lies.” Mani Ratnam wonderfully expands on this in his films, as we see how symbols of power create chaos. In Chekka chivantha vaanamas Senapathy (Prakashraj) dies, the camera doesn’t focus on him; it hauntingly looms over his sofa, a sign that his passing is immaterial and people will care more about the next person on the chair.
In Iruvaras Tamilchelvan (Prakashraj) is elected Chief Minister, we see him enter the office of the CM, but the focus is on the CM’s chair. He looks at the chair fondly. Now, his fame, political power, and his oratory skills all converge on that chair.
House of cards
Mani Ratnam’s body of work presents a unique and beautiful juxtaposition. Films like Alaipayuthey, mouna raagamand Oh kaadhal kanmani discuss togetherness and the significance of marital companionship. His other works, such as Thalapathy, uyire, kannathil muthamptaal, bombay, and Roja, either reflect the pain of perpetual loneliness or the impending separation of a family.
In ThalapathiRajinikanth’s otherwise unbreakable Surya shatters whenever asked about his mother. In Chekka chivantha vaanamthe power vacuum left by the demise of a powerful patriarch creates a rift between his sons, who fight and scheme to grab the throne. Whether it is power or the inevitability of fate, the resultant tremors eventually shake the threads that bind a family in a Mani Ratnam film.
It’s always sunny…
The indomitable forces of nature have a striking presence in Mani Ratnam’s films. Whether it is a heartbroken Surya framed against a glorious sunset in ThalapathiAmar setting his eyes on the love of his life for the first time while hiding away from a raging storm in Uyireor when Amudha meets her biological mother for the first time in Kannathil muthamptal while the rain pours down, the auteur uses natural elements to punctuate emotionally heavy scenes.
Influenced by Akira Kurosawa’s cinematic language, Mani Ratnam employs this influence, not as an empty imitation, but as a reiteration of how nature remains a silent, impassive, and sometimes even an extension of the emotionally heavy moments in our life.
Modern family
Marriage in Mani Ratnam’s stories has always been layered with more ingredients than romance. While a purpose is fulfilled for Sakthivel (Kamal Haasan) as he solemnises marriage with Neela (Saranya Ponvannan) in Nayakantrust and friendship are put to test when Devaraj (Mammootty) orders Surya (Rajinikanth) to marry a widowed Padma (Bhanupriya) in Thalapathi. For two ailing lovers Geethanjali (Girija) and Prakash (Nagarjuna), finding solace in each others’ arms solidified their unsaid commitment. Aditya (Dulquer Salmaan) and Tara (Nithya Menen) look up to two ailing couples who find solace in each others’ arms in O kadhal kanmani. It is this symphony of evolving character arcs in love that he continues to sow, in order to reap a deeper meaning of togetherness.
Once upon a time
Mani Ratnam’s films integrate mythological elements, flipping traditional narratives while adapting them for a contemporary audience. A modern-day Raavan, Veera (Vikram) is the protagonist in Raavanana leader of the oppressed class. Ragini (Aishwarya Rai), whom Veera abducts, develops a Stockholm Syndrome-like connection with him. Ragini is not a passive victim, as she has more agency than Sita. Conversely, Dev (Prithviraj Sukumaran), the antagonist, uses his wife Ragini’s situation to catch Veera. Dev is not the virtuous and idealistic Ram who primarily seeks to rescue Sita; rather, he is a ruthless cop hellbent on catching a ‘criminal’ by any means. By reframing the core dynamics of The RamayanaMani Ratnam challenges conventional notions of good and evil, justice and redemption.
Top Gear
In AlaipayutheyPoorni (Swarnamalya) often finds herself as the involuntary third wheel in the evolving relationship between Karthik (Madhavan) and Shakthi (Shalini). But along with her, another silent witness captures the essence of their chemistry, especially when Karthik says, “Aana idhellam nadandhudumo nu bayama iruku,” – the train.
In the cinematic tapestry woven by Mani Ratnam, vehicles do not just serve their apparent purpose. They act as profound metaphors that reflect the emotional and narrative journeys of his characters. The auteur’s use of trains can be an analysis of its own. From the melancholic abandonment of a baby in Thalapathi by a young, unfortunate mother, to the iconic ‘Chaiyya chaiyya’ caper atop a moving train in Uyirethe railways define barriers, bridges and bonds in Mani Ratnam’s films.
