Looking back at Mani Ratnam’s filmography, we list down some of our favourite shots from his movies.
“Everything you like goes into your film- your taste, your aesthetic, your restraint. You bare yourself,” Mani Ratnam had once said in one of his interviews. Known to be one of the finest mainstream directors in Indian cinema, it’s hard to believe that this man who conjures magic on screen has no formal training in filmmaking.
The way Ratnam fills the frames in his movies with beauty, authenticity and metaphors makes watching his films an exhilarating experience. Below, we handpick some of our favourite shots from his films over the years.
Nayakan
Cinematography– PC Sreeram
In this low-angle mirror shot in Nayakan, where the sex worker reveals that she is a student, a shirtless Velu (Kamal Haasan) slowly shifts his gaze from his reflection to hers. There’s a sudden hit of realisation which PC Sreeram captures so brilliantly with his camera.
Iruvar
Cinematography: Santosh Sivan
Mani Ratnam flaunts his love for mirrors in his 1997 political drama, Iruvar where he uses this device as a medium to make a revelation yet again. In the above particular shot, you have Kalpana (Aishwarya Rai) looking at her reflection in the mirror when Ananda (Mohanlal) tells her that she resembles his deceased first wife Pushpavalli.
Dil Se
Cinematography: Santosh Sivan
This iconic eye shot featuring Meghna (Manisha Koirala) makes an appearance in the film’s title song. As soon as Shah Rukh Khan’s Amar says, ‘Dil se re’, she turns around and peeks at him through the gaps in the wall. The visual is a poetic depiction of blooming love amidst the violent backdrop.
Dil Se
Cinematography: Santosh Sivan
A part of ‘Satrangi Re’ song in Dil Se goes like, “Mujhe maut ki god mein sone de Teri rooh mein jism dubone de,” and features Shah Rukh Khan’s Amar lying in Meghna (Manisha Koirala)’s arms/lap as if he is a lifeless body. Mani Ratnam uses this shot as a foreshadowing tool for the tragedy that awaits us in the climax.
Kannathil Muthamittal
Cinematography: Ravi K Chandran
Yet another powerful imagery from Mani Ratnam’s stable! In this particular shot in the finale of Kannathil Muthamittal, the filmmaker makes use of the umbrella as a visual motif to convey a sense of shelter as Amudha (PS Keerthana)’s biological and adopted families reunite under a common roof- i.e the sky and shields them from the torn conflicts between two nations.
Raavan
Cinematography: Santosh Sivan
‘Arrey aankh se boondh gira koi, chingari ka tukda jala koi.’ An orangish yellow dress clad Ragini (Aishwarya Rai) symbolises the flame ready to engulf the branches of the teak tree before falling into the water. The tree here is a metaphor for Raavan (Abhishek Bachchan)’s mind. The stunning frame is a sight for the sore eyes!
O Kadhal Kanmani
Cinematography: PC Sreeram
In Mani Ratnam’s breezy romance, O Kadhal Kanmani, the first fleeting glimpse that Aditya (Dulquer Salmaan) and Tara (Nithya Menon) have of each other is at the railway station. Both of them are at different platforms with a train passing between them. The visual also symbolises that the two characters are on different tracks in their lives.
Ponniyin Selvan 1
Cinematography: Ravi Varman
Mani Ratnam makes his love for top angle shots evident in this frame from Ponniyin Selvan 1 where we see Nandini (Aishwarya Rai) lying down in her chamber while her servants help her in decking up.
Out of all these frames, which one is your most favourite? Let us know in the comment section below.
