sunset heat is a 1992 thriller film starring michael paré , 1980s pop star adam ant , and dennis hopper .

it featured original music by jan hammer , who had written the miami vice theme music .

sunset heat ( film )

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the director’s “sunset song , ” starring agyness deyn , explores a single soul’s ecstatic devotion to the scottish landscape .
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with a title like sunset heat ( and apparently midnight heat ) , i found it pretty difficult to not think of body heat . it doesn ' t help that the film conjures it ' s sexualised spirit in it ' s introduction , presenting ( neo ) noir themes and cheap dated late 80s soft - rock . it ' s soundtrack is one of the more surprising elements , providing for better or for worse a snapshot of it ' s era , in ' style ' . it ' s not a flashy film , presumably limited in budget and forming a b movie impression . acting ' s a little off , lighting ' s cheap and the dialogue ' s doused in both artificiality and exposition .
sorry , conspiracy theorists : al pacino and robert de niro actually did act opposite one another in their iconic diner conversation scene in michael mann ’s 1995 magnum opus heat .
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to the increasingly narrow circles of her activity that , as they contract , raise the repressive force on her repressed emotional life and raise the heat on the emotions that she presses into her brief , curt , only seemingly cool verses .
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and rutger hauer , as well as some of the most emotionally intense action set pieces ever put to film . moreover , a good portion of the film’s appeal lies in its incorporation of film noir aesthetics—shadow - filled , rainy metropolitan exteriors , a brooding yet resourceful investigator hero , retro ’40s fashion—into its dreary , dystopian setting . at one point , the film even boasted a philip marlowe - esque voiceover narration that was thankfully excised from future cuts . once regarded as a failed experiment ,
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .
lizzie borden’s 1983 film is a sort of political science fiction , in which new york women plot a revolution within a revolution .
in both quality of filmmaking and cynicism of spirit . this film not only announced hanson as a filmmaker well beyond his previous work (
like a fast - paced burner . it’s not fincher’s most famous film , but it’s absolutely one of the most underrated thrillers since 2000 . —
lawrence kasdan’s directorial debut remains , to this day , one of the sexiest movies ever to grace the big screen—not to mention , the rare occasion where the phrase “erotic thriller” can be appropriately uttered without the slightest hint of a snicker . boasting a star - making performance by kathleen turner , the film takes the standard double indemnity / the postman always rings twice premise ( femme fatale hires lover to kill husband ) and grafts it onto the humid nightmare that is florida in the midst of a heat wave . memorable sex scenes aside , however , the film is also a master class in how to build suspense and escalate tension . — m . r .
aestheticizes violence without fetishizing it . bullet holes and knife wounds help color the film in dark brushstrokes—such is the coens’ wont—and careful attention to shot composition ratchets the film’s morbid elements to almost intoxicating heights . you’ll want to look away , but the coens keep your eyes glued to their somber fatalism . —
treats redemption as a cruel joke , a spell of relief that lasts only long enough for us to view its obsolescence . the film takes jabs at
the ballad of narayama
is a japanese film of great beauty and elegant artifice , telling a story of startling cruelty . what a space it opens…
pellington ' s approach can best be described as correct , and the glossy movie looks tidy , if undistinguished . there ' s also nathan matthew david ' s pretty score to underline every mood shift , along with songs , song , songs of every vintage . though it ' s hard to complain about over - reliance on music in a movie that pays homage to the undersung greatness of the kinks and then unleashes
waterloo sunset
at a moment of maximum poignancy .
rather than kill danny , nick merely roughs him up , paving the way for holly to exact a humiliating , though non - lethal vengeance on danny’s most prized possession . for his troubles , nick is paid $ 50 , 000 in hush money from danny’s stash . as holly rides off into an avenged sunset , nick heads for the nearest blackjack table to attempt the final big score that will hasten his exit from sin city . the movie is about 40 minutes old .
that’s been confirmed many times over the years of course . but thanks to the fact that in the film’s final cut , all their scenes are composed of interspersed close up shots , a curious urban legend has persisted holding that the two never actually met on set . tonight however , during a special screening of heat ‘s new 4k remaster at the samuel goldwyn theatre followed by an entertaining q & a with pacino , de niro , and mann themselves , once again the record was set straight about the duo’s interactions in the classic film . make a note , skeptics , that a photo of them sitting together hung for years on the wall of kate mantilini in beverly hills where the scene was shot .
with “wild card , ” screenwriter william goldman takes a third crack at the story of nick the “vegas chaperone . ” goldman wrote the source novel and a 1986 film adaptation starring burt reynolds , both of which were called “heat . ” had the 1986 version starred bruce willis instead of reynolds , “wild card” would be redundant : statham’s take on nick evokes willis in his prime . he’s as quick to cut a villain down with a quip as he is with a sharp object , and a gloomy raincloud of vulnerability seems to perpetually hang over his head .
moderated by intersteller and the dark knight trilogy director christopher nolan ( who himself made several nods to heat in the opening sequence of 2008’s the dark knight ) , the discussion was joined later co - stars amy brenneman , val kilmer , diane venora , and mykelti williamson , along with producers art linson and peter jan brugge , editor william goldenberg , sound mixer andy nelson , and cinematographer dante spinotti .
forty years before the blair witch project popularized the idea of a film being told from the camera’s perspective , actor / director robert montgomery gave this radical idea a spin with lady in the lake , his adaptation of one of raymond chandler’s philip marlowe detective stories . ultimately , the case proves to be minor marlowe and the first - person gimmick does eventually wear thin over the course of the film’s runtime . putting aside these reservations , however , the film is most certainly worth a watch if just to witness montgomery’s sheer audacity and inventiveness . it’s the textbook example of a film being ahead of its time . — m . r .
and los angeles , thus necessitating some creative uses of lighting . this commitment to realism would help perfect the film noir style we all know and love . —
was a rarity in its heyday , though if you didn’t know lupino held the reins , you might not guess the film was directed with a feminine touch .
plays with noir tropes more than he plays to them , deflating film noir’s inherent machismo by revealing the chief heavies of his cast as scrabbling cowards . depending on your mood ,
prior to reinventing filmic language with their playful genre experiments , the members of france’s new wave movement got their start as film critics . in fact , it was through their writings and discussions that the term “film noir” was first christened as a means of describing a certain breed of brooding postwar films . it’s not surprising then that louis malle—though not an official new wave member—would settle on a film noir - influenced project as his first feature film . acting both as an homage to noir as well as a subversion of its structure , elevator to the gallows stars jeanne moreau and maurice ronet as a pair of criminals whose plan to kill moreau’s husband quickly falls apart when the ronet character gets stuck in an elevator . this already absurd concept becomes all the more confounding when paired with the film’s unorthodox , experimental editing and somber , miles davis - performed jazz score . — m . r .
frequently cited as an example of when film noir , to appropriate a tv idiom , “jumped the shark , ” kiss me deadly long ago overcame its initial bad press to become one of the most beloved and influential examples of the subgenre and its ability to tell dark , controversial stories . in that regard , director robert aldrich’s kiss me deadly wears its insanity like a badge . ralph meeker stars as a hard - boiled private eye who ends up bearing witness to the brutal torture and murder of a young hitchhiker ( cloris leachman in one her first film appearances ) . he decides to pursue her case , which results in the discovery of one of film’s all - time great macguffins—a mysterious piece of luggage that emits intense heat and a bright light when opened . ( this visual went on to inspire the glowing briefcase in pulp fiction . ) this all leads to one of the craziest , most jaw - dropping final sequences you’re likely to see in any american movie made during the hays code era . —m . r .
is the coolest melville film of them all ; odds are , it’ll land upright , because that’s an impossible distinction to make . melville films pulse with ineffable cool . in the case of
for example , in the scene in which de niro’s mccauley and brenneman’s eady talk on a balcony overlooking sunset plaza , spinotti explained how the l . a . landscape seen in the shot was filmed on a very low framerate to increase exposure . meanwhile , de niro and brenneman were filmed on location in front of a green screen blocking the actual view , which was added to the background of the shot in post . it’s unnoticeable in previous home video releases but in the new print , it makes l . a . ’s nighttime view look like a surreal dream , or perhaps a nightmare . it adds to the sense , as it was said more than once tonight , of how all the film’s characters are in their own way imprisoned in los angeles .
, alex proyas’ 1998 magnum opus serves up a cerebral sci - fi extravaganza as filtered through the visual tropes of film noir and german expressionism . the result is a staggering achievement in imagination that , like
is a masterpiece . funny to think that american critics looked down their noses at the film at the time of its release . maybe they took offense at the inescapable scent of welles’ passion for rita hayworth , his wife at the time and his ex shortly after production wrapped . he captures her in close - up with a hungry , enraptured eye , the most coherent image in a film that’s built on logical incoherence .
has enormous ambitions that belie its tight running time , the end result of odious studio interference that nonetheless fails to impede the viewing experience . come for hayworth and welles , stay for the film’s dizzying hall of mirrors shootout . —
leave it to the master of suspense to meld docudrama realism with the melodrama of film noir . “ alfred hitchcock ’s powerful portrait of a man … drawn from life ! ” the wrong man ’s original trailer proclaims . it’s to the film’s credit that hitch doesn’t screw around here , telling in full the story of a man falsely convicted for robberies he never committed . unsurprisingly , hitch is every bit as interested in the effects of the outrageous miscarriage of justice that befalls manny balestrero as he is in the lasting trauma his detention inflicts on him and his family . the wrong man puts a high premium on claustrophobic camerawork—we feel like we’re as confined as poor old manny—but the film’s greatest impression is left in its aftermath . — a . c .
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, however , lynch took his fascination with the subgenre to a whole other level , depicting a world where a character’s interior life influences not only the film’s visual style but its narrative structure as well . in the first great performance of her illustrious career ,
also under discussion , the detailed backstories mann devised for all of his characters – “michael is the king of backstory” said williamson tonight – as well as the intense work that went into creating the film’s intense realism . for instance , to prepare for the film’s climactic bank heist , de niro and co - stars val kimer and tom sizemore cased a bank in century city ( with , it was made clear , permission of bank security ) , then were made to recount from memory the layout once they left .
“a beautiful femme fatale saunters into an unsuspecting man’s life and entices him into committing murder for her . ” this logline could be used to describe any number of classic film noirs . most of this can be traced back to author james m . cain , who wrote two books—
film noir or horror—which category does charles laughton’s night of the hunter belong in ? frankly , all such quibbles are needless . the film fits snugly beneath either appellation , for one thing : it’s a hybridized version of both . ( let’s call it “film noirror . ” ) for another , it’s a masterwork , so fie upon labels . night of the hunter lurks in shadows and revels in misogyny . whether you’ve seen it or not , you probably have the image of robert mitchum’s tattooed knuckles imprinted upon your brain thanks to pop culture osmosis . reverend harry powell is quite the villain , a man as quick to distort the truth with honey - coated lies as laughton is to distort reality through oblique perspective , unnerving use of shadows and light , and a dizzying array of camera compositions that make small - town west virginia feel altogether otherworldly . — a . c .
, which centers on two treasury agents who must go undercover to infiltrate a notorious counterfeiting ring . while not boasting any big - name actors or even a particularly novel story , the film is noted for its inventive cinematography , with mann and cinematographer john alton deciding to shoot several scenes on location in
the goldwyn theater might not be the best equipped to demonstrate the full beauty of a 4k presentation ( no shade intended – it was great but i had no basis to compare ) , but the new print looked fantastic , with eye popping detail that shines a bright light on the work of cinematographer spinotti . a particular stand out is how the new print makes clear some of the technical achievements mann and spinotti employed to make the city of los angeles itself as much a character as the actors moving inside it . “l . a . is a weigh station on the way to somewhere else , ” said mann tonight about the way the city looks throughout heat . one way that was achieved was to combine then - new computer effects to heighten the city’s iconic cityscape .
park chan - wook’s oldboy makes the smart choice most genre homages don’t : the film relegates reference to the soundtrack titles , some of which crop up elsewhere on this very list . it takes more than a few hat tips to tourneur , hawks and ray to make a noir , but oldboy boasts the lion’s share of noir’s best trappings in its story of long - term revenge and dirty family secrets . the film is probably best revered for a single fight scene , one of only a handful to occur throughout its two - hour running time . admittedly , that hallway scrap is pretty glorious , but park boils his protagonist hard , and spoken from beneath star choi min - sik’s grizzled mane , the film’s dialogue crackles with beefy , unhinged ennui . years from now when the next big international neo - noir import arrives stateside , don’t be surprised if you see oldboy ’s moniker on its ost . — a . c .
we’ll start with the following 100 titles . some 70 years after the term “film noir” was first uttered , take a trip through the screwed - up terrain of the mid - century psyche , with all its sex , lies , and crime scene tape . let’s get going—don’t say we didn’t warn you . — amanda schurr
, an adaptation of novelist / screenwriter scott b . smith’s 1993 thriller about three working - class men who end up stumbling upon a crashed plane filled with millions of dollars in cash . seeing this as the answer to their financial woes , the men divvy up the money only to quickly find their close - knit group torn apart by greed and paranoia . while not ostensibly film noir in its construction , the story nevertheless touches upon classic noir themes—namely , the corruptive power of greed and the folly of man in attempting to control life’s chaos . whatever its designation , the film presents an absorbing , if unmistakably devastating , modern - day morality tale . —
carl franklin’s excellent early ’90s neo - noir walks a razor - thin tightrope of suspense : you get the sense from one minute to the next that any step out of place could send the entire narrative into violent anarchy . franklin’s film has great aspirations , delving into the complexities of modern american race relations just a few years after
, flopped at the box office only to be revived later as a beloved cult classic . the film casts rufus swell as an amnesiac who wakes up one night to discover that his city is ( quite literally ) being manipulated by a band of mysteriously pale men in jet - black trench coats and fedoras . along for the ride is
to brilliantly deconstruct traditional cinematic storytelling , toggling between chronological black - and - white vignettes and full - color five - minute segments that unfold in reverse order while shelby frantically searches for his wife’s killer . the film is jarring , inventive and adventurous , and the payoff is every bit worth the mind - bending descent into madness . —
plays a wide - eyed actress newly arrived in hollywood who stumbles upon a beautiful young woman who can’t remember who she is . that pithy logline only touches the tip of the iceberg , as the film delights in throwing numerous other subplots and mysteries at its audience only to violently pull the rug out from under them in its latter half .
a favorite of martin scorsese , force of evil centers on a lawyer who finds himself involved with an influential gangster looking to take over all smaller rackets in town . the problem ? one of those desirable rackets is run by the lawyer’s older brother . like t - men , the film makes great use of shooting on location . moreover , at times , the film’s familial themes and stylized writing help elevate the conflict to near shakespearean levels ( or biblical levels , considering how frequently it alludes to the story of cain and abel ) . though relatively small in scale , force of evil finds greatness in its aim to convey grandiose , large - scale ideas . — m . r .
. ) kubrick’s work here is no - frills and elegantly straightforward : sterling hayden plans one final holdup before retiring and settling down with coleen gray . no twists and turns , just good old - fashioned theft at the racetrack . the film revels in the gray morality of hayden’s good intentions . crime pays , at least until it doesn’t . —
does any psychopath in film noir’s rogues gallery strike quite as much immediate , stomach - churning terror as tommy udo ? the man’s got a leering , sunken visage only a mother could love , provided she keeps her eyes closed tightly and doesn’t give him reason to shove her down the stairs . richard widmark’s wolf grin might be the only thing about kiss of death that matters . bereft of him , of course , henry hathaway’s film remains solid , but widmark’s oscar - nominated performance makes the entire enterprise feel vital . he’s a villain for the ages , perhaps robbed of his due by hathaway’s need to architect a happy ending . such is life working with production codes . — a . c .
: at first confused , then maybe a little angry , but then ultimately delighted by how fooled they’d just been . perfectly paced , brilliantly scored by director bryan singer and editor / composer john ottman—the film never lets the marks know they’re being conned by the irresistible ensemble or christopher mcquarrie’s dark , mischievous script . and then like that … it’s gone… —
get carter director mike hodges’s last great film was budding star clive owen’s first . in fact , even now more than 15 years after its release , croupier may be the best thing owen has ever done , playing a struggling novelist who takes a job at a casino , looking for inspiration but finding mostly trouble . watch this film now to be reminded where the actor first prompted speculation that he’d make a great james bond : his character jack manfred isn’t a super - spy , but he’s got the jet - black suaveness , lady - killing panache and dry wit we associate with 007 . croupier is a movie attracted to the sleazier side of life , and owen’s antihero was the perfect tour guide . — tim grierson
now , if you’ve been on imdb , watched the home video special edition or caught the stray interview with pacino , de niro , or mann , chances are you’ve already heard most of what was discussed tonight . but who cares , because for the first time in two decades , the three shared a stage to talk about the beloved film , shed some light on how it was made , and laugh together about the experience . the packed theater – beforehand , bent around a nearby parking lot , there was a long line of people hoping to get in – laughed right along with them . when , that is , they weren’t breaking out into spontaneous applause and more than one standing ovation for the film and its cast and crew .
since its coining in 1946 by french critic nino frank , who observed from afar something dark , quite literally , going on at the american cinema , the term “film noir” has been debated and debated and debated some more . is it a genre ? a subgenre ? a movement ? a trend ? a commentary ? a style ? for the purposes of this introduction , let’s call it a response .
unlike so many of its peers on this listing , edward dmytryk’s obsession doesn’t lean on violence in its plotting and scheming . but the film isn’t gentle by any stretch . in fact , obsession is one of the more gruesome classic noirs , a slow - burning bit of nastiness that could give breaking bad a run for its money in the body disposal department . dmytryk rides on the strength of great work by robert newton , here playing a psychiatrist who determines to kill his wife’s lover , an american diplomat played by phil brown . ( obviously , because everybody knows that all psychiatrists secretly harbor homicidal urges . ) newton’s a creepy hoot , and dmytryk has such a good handle on his suspense that even the tonal dissonance of unwelcome comedy doesn’t break the film’s insidious spell . — a . c .
maybe falling in love with dead people is just an occupational hazard of being an investigative detective in new york city . then again , maybe a shotgun blast to the face couldn’t keep anybody from developing a crush on gene tierney , which is pretty much how the plot of otto preminger’s laura goes . the film tracks the trajectory of nypd detective mark mcpherson’s growing obsession with the eponymous young lady as he cobbles together the bits and pieces of her life and death . poring over her diary and her letters , he comes to moon over her , and why not ? she’s every bit as delightful as preminger’s movie . laura doesn’t waste time and stacks contrivance on top of unlikelihood , but such is the strength of preminger’s craft and the performances of his cast that the film’s convolution doesn’t matter . — a . c .
puts male toughness on trial and makes it look ridiculous , but the study of manliness might be a smokescreen for kurosawa’s veiled jabs at the board of censors installed by the u . s . government in post - world war ii japan . note the western clothing . observe the recurring image of the bubbling muck that serves as one of the film’s central locations . the american occupation whitewashes and corrupts japanese culture in equal measure , and
and guy pearce to american audiences by giving them their first signature roles . this tabloid version of the city of angels celebrates all the sex , corruption and other seedy circumstances the superficial city can provide . it offers a string of unforgettable sequences , from bud white’s yuletide raid to exley’s interrogations to the final shootout where the film’s utterly ellroy perspective on police morality is ( quite literally ) executed with masterful precision . at the time of its release ,
some noirs get their hooks into you within their first few minutes and don’t let go even after the credits roll . angel face isn’t one of those . it’s a deliberate , considerate film , one that has a destination in mind and makes no bones about taking its time getting there . whether you ride with it is up to you , but come on : this is otto preminger—lesser otto preminger , perhaps , certainly not one of his better celebrated films . even lesser preminger is worth your time , though , particularly when he’s as laser - focused as he is here . angel face builds . it’s a movie that constantly sets itself up and points toward its shocker of a climax . preminger’s direction renders this story of crazy love , shared between robert mitchum and jean simmons , unpredictable if slow . don’t let the apparent languidness get in your way . the unhurried pace adds to the film’s grimmer pleasures . — andy crump
like double indemnity , michael curtiz’ mildred pierce succeeds on the strength of its leading lady ; in this case that’s the immortal joan crawford , who plays the film’s central character , not to mention all of its heart and soul . ( arguably , it’s the most definitive crawford performance of all time , at least next to what ever happened to baby jane ? . ) mildred pierce is a strong woman driven by an inexhaustible love for her children , veda ( ann blyth ) and kay ( jo ann marlowe ) , but she’s also stymied by the restricting grasp of a patriarchal society . even veda is contemptuous of mildred for daring to have the moxie to have it all . the film is about more than prickly mother - daughter relationships , of course , specifically the murder of mildred’s second husband . but sandwiched in between curtiz’ probing whodunit lies one of noir’s most sympathetic and purely humanist tales . — a . c .
social consciousness , a recurring theme throughout noir’s history , meets with the grisly side of mob politics in cy endfield’s lesser - known yarn , ripped straight from the headlines . like the wrong man , the sound of fury purports to be based on actual events . how well the film plays that out depends on your knowledge of the case that inspired it . in endfield’s hands , the story becomes a discomfiting exploration of american inclinations toward taking matters into one’s own hands . unlike so many legit bad guys on this list , frank lovejoy’s howard tyler does bad things for good reasons . he’s a family man fallen on hard times . endfield makes the case for his guilt , but through the complex worldview of noir he’s able to critique the lack of cultural empathy ( alongside socially irresponsible journalism ) that ushers him toward a downfall disproportionate to his crime . what the film lacks in stylishness , it makes up for in raw emotion . — a . c .
as for the small number of scenes shared by the film’s two stars , mann explained how the two playing off one another increased the subtlety of their performances . “if bob is shifting his weight , ” mann said , “al is doing something to counter , ” almost , he explained , as if afraid de niro might go for a gun . the diner scene in particular was also fairly raw , done at de niro’s suggestion without any rehearsal before they set about filming it .
as it was a change of pace for lupino , who , after directing four features that each revolved around the struggles and victimization of women , decided to try her hand with decidedly more masculine fare . decades later , her film is still generally considered the first noir directed by a woman , but it should really be thought of first as a slim , unsparing , suspenseful slice of true crime . she puts her foot on the gas and doesn’t let up until the very end . —
one of film noir’s more under - loved minor works , tension showcases great work by audrey totter while fiddling with gender roles and postwar disenchantment . there are few saps as sappy as richard basehart’s cuckolded warren quimby , and even in the realm of femme fatales , few are even half as downright mean as claire quimby ( phyllis dietrichson , lily carver and brigid o’shaughnessy notwithstanding ) . forget the fact she habitually cheats on poor borin’ warren : check the scene where he drives her to the house he scrimped and saved for , a gesture she can only respond to with contempt . totter is such a hoot you almost forget to feel bad for basehart , but even his gentle male ego can only endure so much abuse before he decides to remake himself in the image of claire’s “type , ” all the better to get even with her and her lover . tension might not have the iconography of john berry’s peers , but the film makes a worthy study of masculine american identity . — a . c .
last week’s trip to berlin , i had never attended a major international film festival . ( new york doesn’t count—it’s a self - described “festival of festivals , ” featuring many movies that have already premièred . ) for good reason , these festivals are not part of my regular rounds : i usually write about movies that are available to many readers , because there’s a tease built into festival reviews—let me tell you about some wonderful movies that i’ve seen and that you can’t , or , at least , not yet .
, a movie that hits with quick percussive impact and spares no time from one bout of action to the next . the film strikes a comparison between youthful and experienced viewpoints : james edwards’ boxer on the rise is brimming with self - assurance , while david clarke’s battle - scarred ring veteran speaks aloud to pugilists’ inevitable decline . is robert ryan’s last attempt at glory worth suffering for ? is it worth the mental trauma it inflicts on his wife ( audrey totter , showing off a different side of herself ahead of 1950’s
it’s kind of a shame that the film feels compelled to interrupt this feeling with violence . there’s less than you might be expecting , and i’d be remiss if i didn’t say those scenes are fun in the most gratuitously brutal ways ( one guy gets gruesomely slashed with a credit card ) . but you’ve seen statham do all that before , and it clashes with the novel - like vibe goldman successfully creates . perhaps that’s why movies give statham little to say : his gift of gab overshadows his penchant for mayhem .
after the tautly spirited dialectic of dickinson’s creative days , the scenes of her illness have a terrifying emotional splendor . nixon plays dickinson’s death like a childbirth scene in which the body is wrenched apart to yield up the soul , which then doesn’t ascend to heaven but remains on earth to inhabit the world more fully after death than dickinson ever managed to do in life—the wicked metaphysical irony of posthumous renown . davies does more than film dickinson’s life ; he creates a world that is , above all , her inner world , confined
a criminally underrated gem of ’70s cinema , night moves stars gene hackman as a retired football player - turned - private investigator who is hired by an aging starlet to track down her wayward daughter . naturally , this seemingly simple assignment leads our hero down a convoluted path littered with illicit relationships and rampant corruption . released a year after francis ford coppola’s much celebrated the conversation , night moves very much serves as that film’s spiritual sibling—a complex , somewhat opaque treatise on american cynicism in a post - watergate world . — m . r .
mann also recounted his inspiration for the film , the real life experiences of his friend , chicago police detective charlie adamson , who in 1963 ended up killing criminal neal mccauley ( for whom de niro’s character was named ) . mccauley and adamson actually met before their later fatal encounter , having dinner together with a conversation that was reportedly very similar to the one pacino and de niro have in the famous scene . as mann put it , “they had the kind of intimacy only strangers can have , ” and just as easily were torn apart .
and so noir cast its misfits—gun - toting , hard - drinking , lipstick and stiletto - wearing human chimneys of neuroses—into a seductive , violent postwar labyrinth , in which the terror was internal and external . fear of the next world conflict , fear of each other , fear of never getting back to a pure time , the fear in realizing there never really was one . a study in extremes that dealt in innuendo ( thanks again , censors ! ) as it departed from accepted cultural norms and , sometimes , basic humanity—film doesn’t get more perverse , or more unapologetic about it , than the noir environment .
actually marks one of the filmmaker’s more accessible works . indeed , the opening set - up feels akin to the sort of “wrong man” scenarios favored by hitchcock—a new york thief ends up pickpocketing a young woman’s wallet , only to discover it contains top - secret government intel . the man quickly realizes he has become an unwitting player in some serious cold war - era espionage . though undeniably dated in certain places , the film’s take on politics and sex as well as its willingness to position an unrepentant thief in its main character slot represented the kind of daring mentality that would have been celebrated years later in the new
jason statham movies aren’t known for their dialogue . people attend his films for their action sequences , which is why so few filmmakers give statham much to say . that’s a shame , because when given the rare chance to be chatty , statham becomes more than just a lethal weapon . “wild card” gives him more opportunities to converse than to clobber , and as odd as this may sound , i really enjoyed listening to statham talk . his fight scenes have their predictable , violent payoffs , but his rambling monologues are unexpectedly , gloriously entertaining . this film’s tagline should be “come for the stabbing , stay for the gabbing ! ”
criss cross marks the screen debut of future movie star tony curtis ( here billed as “james curtis” ) . fortunately , the film—which reunites burt lancaster with killers director / noir auteur robert siodmak—works as much more than merely a footnote in curtis’ career . lancaster stars as an armored truck guard who hatches a plan with his ex - wife to fake a vehicle robbing so they can make off with the loot . per the title , the plotline soon transforms into a tangled web of double - ( and triple - ) crosses that concludes with an ending that , even by noir standards , is pretty damn bleak . — m . r .
throughout , statham expertly handles goldman’s sometimes absurd dialogue . the film is at its best when nick chats with people . “wild card” wisely casts its supporting characters with actors who leave an impression , including davis’ dealer , anne heche ’s diner waitress , davenia mcfadden ’s information - gathering maid , jason alexander ’s office mate and tucci’s head honcho , baby . the folks in nick’s orbit form a self - contained society with its own set of rules and regulations . “wild card” has a finely tuned sense of the vegas working - class , of people who are off the beaten path , hustling in the harsh light of day that most tourists sleep through .
in one of the most intriguing opening scenes in film history , d . o . a . commences with a lengthy tracking shot of a man as he stumbles into the police office to make an unusual request—he wants to report his own murder . this opening image just about sums up d . o . a . , a brisk yet exhilarating noir thriller with one hell of a high - concept . after being administered a deadly poison , the main character has only a few days to discover who dosed him and why . what follows is a glorious mix of high - stakes melodrama and entertaining sleaze all compacted into a concise hour - and - twenty minute running time . — m . r .
jules dassin’s impact on film noir is widely documented—if you need proof , just consider the fact a handful of his best contributions to the genre have landed on this very list—and among them , thieves’ highway is perhaps the most economical . at the same time , it’s superficially the least noirish : it’s a revenge movie , sure , but that revenge is sought by a good man driven to right wrongs done to his father . this is a movie built on a pure search for retribution , though of course it’s dassin , so nothing is ever that simple , and in point of fact everything that can go wrong for nick garcos does . who knew the world of fruit trucking could be so damn cutthroat ? — a . c .
long before the boomers came to know fred macmurray as the kindly father on my three sons , the actor essayed his best performance in double indemnity as the deplorable , hard - boiled walter neff , who falls for a married temptress ( barbara stanwyck ) who talks him into killing her husband . whether in film or on television , macmurray normally played the nice guy , but for double indemnity he turned his everyman decency into a mask—perfect for a character who can barely conceal what a lustful , conniving bastard he is . one of the great noirs , this early effort from billy wilder revealed the filmmaker’s talent for wonderfully thorny , unapologetically rotten characters—and it doubles as one of the definitive mid - century los angeles movies . — t . g .
it’s hard to think of a movie that did more short - term damage to the length of your fingernails in the ’90s than david fincher ’s se7en . the film follows detectives david mills ( brad pitt ) and almost - retired william somerset ( morgan freeman ) on the trail of john doe , a murderer who plans his kills around the seven deadly sins . we see somerset teach a still - naive mills valuable life lessons around the case , which has morally charged outcomes aimed at victims that include a gluttonous man and a greedy attorney . but with all the disturbing crime scenes considered , se7en ’s never as unpredictable or emotionally draining as when mills and somerset make the final discovery of “what’s in the box” after capturing their man . — tyler kane
a story of unintended connections and one woman’s spiraling descent into paranoia and terror , sorry , wrong number gets sort of a bum rap next to double indemnity in barbara stanwyck’s catalogue of awesome performances . the film alternates between flashbacks and the present , and so too does stanwyck’s spoiled , shiftless heiress to a drug - store empire go from lethargy to hysteria . turns out she’s the center of a murder plot , though she doesn’t quite realize it at first and must piece together the architecture of her own demise as she lies bedridden and alone in her opulent manhattan digs . stanwyck gives sorry , wrong number a pulse , while anatole litvak’s direction soaks her growing terror in shadows so deep , the intruder sneaking through her house can’t help but bump into the furniture . — a . c .
don siegel’s debut picture , the verdict rests between two axes : peter lorre and sydney greenstreet . siegel could have shot the film and styled his misé en scene any way he wanted , and none of it would have mattered so long as he kept his two leading men on the cast . the verdict is all about them , both from the perspective of narrative and in terms of the viewing experience . lorre has a habit of stealing our attention while hanging out at the edges of the frame , while greenstreet uses his imposing bulk to command from the center of the camera . they make a fun pair as antiheroes trying to redeem greenstreet’s disgraced scotland yard superintendent when an innocent man is sent to the gallows thanks to his botched investigation , while siegel soaks their mission in noir’s dark - washed style and black humor . — a . c .
a pioneering work in the film noir movement , detour was initially conceived as little more than yet another quickie product straight from hollywood ’s poverty row . the story concerns a piano player who , while hitchhiking from new york to hollywood , ends up getting a ride from a pill - popping bookie who later turns up dead . thus begins a series of bad decisions that provides the template for any good noir yarn . filmed in less than a month with a miniscule budget , the eventual theatrical cut barely clocked in over an hour . it was from these severe limitations , however , that the vocabulary of down - and - dirty noir films began to take shape . indeed , detour ’s ragged edges and technical hiccups helped inadvertently create the kind of grimy , hard - boiled atmosphere that served as the perfect reflection of its equally gritty content . — m . r .
françois truffaut’s shoot the piano player feels like the tragicomic reverse of melville’s le doulos ( no . 53 ) . instead of adapting french literature through an american lens , truffaut does the reverse , turning david goodis’ crime yarn down there into an altogether unpredictable story about commercialism , artistic purity , and the ways our pasts catch up with us . shoot the piano player keeps its tongue firmly in cheek as truffaut oscillates between absurd slapstick and heartbreak . a man swears to his honesty on his mother’s soul , and the camera cuts away to dear old mom as she falls down dead in her kitchen ; truffaut’s protagonist , charlie ( charles aznavour ) , plays a ditty in the dive bar where he works , haunted by the death of his wife as well as his rising career as a concert pianist . the film is a romp until it’s a downer . — a . c .
at the start of jean - pierre melville’s le doulos , a handy dandy intertitle card kindly lets us know that the film’s name refers either to a style of hat or a police informant . once the picture commences , we get plenty of both plus the oozing - cool style of melville , whose tendency to play down everything in his frame makes even his use of shadow and light seem aloof . le doulos is the most - least french contribution to this list ; it’s melville’s adaptation of a novel by pierre lesou , but he blends lesou’s words with twists on symbols and staples of american noir . a purist might argue that combining a french novel with american sensibilities is an implicit rejection of the filmmaking model he and his fellow rive gauche comrades established in the 1950s . in truth , that synthesis produces a celluloid slurry that’s uniquely melville , minimalist and slick . — a . c .


panneer pushpangal ( english : fragrant flowers ) is a 1981 tamil-language romantic drama film directed by bharathi-vasu about a high school romance set in a hills station school located in ooty .

the movie carries an original plot and is not a remake of a little romance ; as alleged earlier .

panneer pushpangal

panneer pushpangal is a love story between suresh and shantikrishna supported by their teacher prathap pothen .
panneer pushpangal is a 1981 tamil - language romantic drama film directed by bharathi - vasu .
panneer pushpangal ( 1981 ) tamil movie cd - rip 320kbps mp3 songs music by ilaiyaraaja - starmusiq . com
kodai kaala kaatre - panneer pushpangal tamil song - ilaiyaraaja | the maestro . | pinterest | data recovery , songs and romance film
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i remember my first day of shooting for ` panneer pushpangal ' in ootacamund . the lead pair was suresh and santhi krishna . the film was a hit , and it gave me and director p . vasu a good name .
now compare this with valibame vaa vaa ( the songs were not a spot on ao , ko or pp , ) which was crass in every sense - and yet performed better than kadhal oviyam and panneer pushpangal at the box - office .
but rajeshwar’s movies , i later realise , offer a definitive sketch of the director . aval appadithan , panneer pushpangal , the national award winning ezhavathu manithan , meendum oru kathal kadhai , kadalora kavithaigal … they quite eloquently describe the man who wrote them .
paneer pushpangal dealt with
first love
as a moment of joy , confusion and a significant first step into adulthood .
by chance i met directors bharathi - vasu who immediately decided to cast me in their panneer pushpangal . i was overjoyed and there was also another pleasant shock awaiting me . director bharathi raja also chose me as hero for alaigal oyvadillai . both the offers were good and i was not sure which one to take . my father advised me to take panneer pushpangal as it came first . i met bharathi raja and informed about my decision and with great magnanimity he wished me luck and sent me to work in the film .
this romantic soundtrack was composed by maestro illayaraja for 1981 tamil movie panneer pushpangal . a peppy title track and the evergreen famous love theme which is on par with the love theme of love story , summer of 42 or cinemaparadiso love theme make this soundtrack a treasure . .
listen to engeyum eppothum raaja , vol 11 : ellam inba mayam / paneer pushpangal / kadal meenkal ( original motion picture soundtrack ) now .
movie title - - - panneer pushpangal its ranked number 3 tamil movie in the year 1981 in imdb . imdb rating - - 7 . 9 director bharathi directs actor suresh for 1st time . director bharathi and music director ilaiyaraaja joins for 1st time . cast - - suresh venniradai moorthy movie details - - running time - 14 mins
panneer pushpangal is a 1981 tamil comedy , drama film , directed by bharathi - vasu and produced by padmini productions . this film stars suresh , archana , shanthi krishna , jr . manohar , venniradai moorthy , prathap k . pothan in the lead role . the films soundtrack and background score were composed by ilaiyaraaja with lyrics by gangai amaran .
suresh entered film industry through panneer pushpangal and was a popular hero during the 80s . he has acted in 265 films across tamil , telugu , kannada and malayalam . he made a comeback four years ago in kizhakku kadarkarai salai and will once again be seen in sivaji productions asal with ajith in an important role . he shares his journey with the readers of urltoken
when it comes to direction , my bests are ` panneer pushpangal ' , ` guna ' , ` mahanadhi ' , and ` chinna mappilai ' . people often associate me with the film ` karagaatakaran ' . as for acting , i like ` michael madana kama rajan ' . another favourite is ` anbe sivam ' . the latest is ` varalaru ' , directed by k . s . ravi kumar . i have also acted in half - a - dozen serials .
panneer pushpangal , is first of all a remake of a hollywood film named ' a little romance ' . i haven ' t seen that english film and i don ' t want to . because panneer pushpangal has everything one would expect it to have . the film is about love in school days . . . debut directors , debut actors , but that doesn ' t let the film go down . the overall performance of all the actors were good . especially , prathap was my favorite . he is an excellent actor , and this character suits him perfectly . the music by our maestro ilaiyaraaja was awesome ! ! i loved the songs and bgm ' s . camera was decent . it ' s definitely an evergreen film . though the school life and love which we see today is not the same as it was in those days , you will like it . on the whole , the film is a must watch for all .
he pauses and adds as an afterthought , “until recently , so many people didn’t know that i was the writer of aval appadithan and paneer pushpangal . i had to print something like this , ” he says , pointing at the booklet .
a photographer friend of suresh ' s dad opined that suresh could make it as a lead actor and with a portfolio , suresh approached director c . v . sridhar to feature in his films , but his effort went in vain . he then met director duo santhana bharathi and p . vasu who decided to cast him their venture , panneer pushpangal , while simultaneously he was cast in the lead role in bharathiraja ' s alaigal oivathillai presenting him with a dilemma of which film to choose . [ 5 ] he chose the former , but both films went on to becoming large commercial successes during the period .
while rajeshwar goes the extra mile for research , he also draws inspiration from everything that he encounters . in 1970s , he met an extraordinary woman with radical beliefs . she became manju in aval appadithan . his own memories of his convent days helped him write paneer pushpangal . a story lies everywhere , he says .
we became good friends . we used to be seen together all the time . so , when we got an opportunity to direct ` panner pushpangal ' we did it together . that was the first time we saw our name together on the screen as bharathi vasu . today we are good friends and meet as often as possible .
rajeshwar then met pratap pothen on the sets of paneer pushpangal , in which pratap played an integral role . “when i direct a film , you will write the story , ” he had told rajeshwar . pratap kept his word when he came up with the national award winning meendum oru kathal kathai ; a film about a mentally challenged couple played by radhika and pratap himself . rajeshwar had earlier made a short film called anbagam , on mentally - challenged children . that experience , he says , came in quite handy .
p . vasu strongly believes in two t ' s - time and talent . success follows suit when the two combine well . and that ' s how he defines his career spanning more than two - and - a - half decades in the film industry . vasu and his companion , santhana bharathy , started off as assistant directors and got together to direct ` paneer pushpangal ' , which became a super hit .
we compromised on certain things as we had different approaches to the subject . that ' s the reason why some of our other movies failed to make a big impression in the box office , prompting us to take our own paths ,
he says . his first individually directed film , ` en thangachi padichava ' , was another big hit and there has been no looking back ever since .
i dream of getting the coveted national best director award . i am making efforts to make that dream come true
santhana bharathi started his film career as a director and then switched to acting . he is now a full time actor . both as director and actor he made a mark for himself , and he is now called upon to do some of the best character roles in films as well as television serials . santhana bharathi talks about his acting and his first love direction .
i am an open person , and when i see anyone in trouble i will be the first to help him or her out .
my father , m . r . santhanam , had acted in the boys company . he later became a producer , and made some of sivaji ganesan ' s best films . in fact , he was called the ` shadow of sivaji ' as they were seen together often . one of the popular films he produced was ` pasamalar ' in which sivaji ganesan and savithri acted . he later produced ` annai illam ' , ` paaladai ' and ` anbalippu ' .
i entered the industry with the intention of becoming a director . i started out as an assistant director to sridhar with the recommendation of kannadasan , and worked first in the film ` o manju ' . then , when director sridhar was doing ` meenava nanban ' , p . vasu joined our unit .
` en uyir kannamma ' was my first film as an actor under director - actor siva chandran . i told him that i am not good at delivering dialogues . but , he compelled me to act . then , in ` michael madana kama rajan ' i recited more dialogues . i remember having a lot of apprehensions about it . both actor kamal haasan and the director , singeetam srinivasa rao , put me at ease . in fact , kamal haasan helped me perform to the satisfaction of the director . but , today i can deliver long dialogues without any problems .
along with p . vasu i directed five films , and on my own i did eight films . i have acted in about 70 films . as far as i am concerned , no role is big or small . . .
i am happy for two things . i was the person who introduced sathyaraj as a hero in ` kadamai kanniyam kattuppadu ' . i received the best regional film award from the central government for ` mahanadhi ' . but , my dream is to get the coveted best director award . i am making efforts to make that dream come true .
i will certainly continue acting . i will start on my next directorial venture next year . the star cast and technicians list is being finalised .
p . vasu , the super hit director who believes in changing with the times , writes g . prasad
when i hunted down director rajeshwar last november , it was to talk about the late director c rudhraiya . rajeshwar was in a hurry , but he still managed to recount his experiences writing rudhraiya’s aval appadithan while providing me with some rare tidbits about him .
i was intrigued enough to call him back again . for an exhaustive interview ; on subjects both personal and professional .
it takes a few phone calls before he is convinced . i am given an appointment .
the day before our meeting , i panic . precious little background material is available about the filmmaker online .
listening to a well narrated book is an incredible experience . ( and yes , it helps us pay our bills too ! ) click here for the free trial
i only have a wikipedia page to rely on . and , his films .
rajeshwar’s office is a fuss - free apartment . a laptop and some stationery on his table . on the wall , a photograph of his son – who’ll soon be debuting in the tamil remake of ajab prem ki ghazab kahani . [ quote align = ’right’ ] ”even in the so - called progressive films of balachander or sila neragalil sila manidhargal of jayakanthan , the chastity of women is preserved sacredly . in balachander’s arangetram , lalitha becomes insane with guilt . “ [ / quote ]
clad in a formal grey outfit , rajeshwar walks in laden with bags . he offers a faint smile , which would stay through the interview .
when we settle , he hands me a little booklet . it resembles a photo album , featuring basic information about the director and his body of work . i rifle through the little booklet , as the roar of the air - conditioner fills the silence .
dr karunanidhi’s note to rajeshwar makes me smile . working on nyaya tharasu was a satisfying experience , it says .
“ en ezhuththu thuraiyilum idhu oru pudhiya thiruppam . enakku mikka mananiraivaana thiraikkaaviyam nyaya tharasu . ”
that’s definitely saying something . the movie was rajeshwar’s directorial debut , a remake of the malayalam film panchagni . karunanidhi wrote the screenplay for the tamil version .
as i rifle through the booklet , he starts narrating the the story of his life .
his father was an exporter in mumbai , and also a filmmaker . so rajeshwar’s childhood and school years were largely spent in mumbai and tirunelveli . avan amaran ( 1958 ) was his father’s first film . it was appreciated by communist leader jeevanandham for “being revolutionary in its own right” .
the progressive writers’ association had recently invited rajeshwar to deliver a talk on his father to commemorate the film .
amaran , the blockbuster directed by rajeshwar , was a tribute to his father . “it was a conscious decision to name it after his film , ” he says .
even as a student , rajeshwar remembers sharing his father’s love for celluloid , and harboured a dream to work in cinema .
but he didn’t know what he wanted to become : a writer , director or producer .
meanwhile , rajeshwar continued devouring films . he moved to chennai from tirunelveli , enrolled in loyola college , and studied economics . his friends always sought him out during college festivals ; rajeshwar penned skits and stage plays that they found “good and tolerable” .
soon , his passion for cinema and writing took him to the institute of film technology , adyar .
and , when he later branched out as a filmmaker , he recognised a dearth of writers who could match his “taste and temperament . ” this was when he tried his hand at writing again . “there are a lot of great writers in the north ; writers with a literary background . tamil cinema hasn’t got many , ” he says .
quite like his friends in college , his fellow students at adyar film institute were intrigued by rajeshwar’s writing . floored by a two - page synopsis that he wrote for a story , rudhraiya , who was his senior at the institute , converted it into aval appadithan .
word spread . filmmakers learnt that rajeshwar was a treasure trove of stories . he started receiving myriad requests from his friends to write for their films .
and just like that , while searching for good writers , rajeshwar ended up becoming one . “because , my friends became directors . and they wanted my stories , ” he laughs heartily .
during an impromptu discussion , he had narrated the story of two convent students coming of age to gangai amaran . moved by the tale , gangai amaran wondered if he could make a film out of it with directors p vasu and santhana bharathi at the helm . “i gave the story to them out of friendship , ” says rajeshwar .
, starring suresh and shanthi krishna was well received . [ quote align = ’right’ ] ”i was told that if aval appadithan were made today , it would be a blockbuster . i don’t agree , for it’s still taboo for a woman to talk about her sexual encounters . the profile of the audience should change . ” [ / quote ]
despite writing stories and screenplay for his friends’ films , rajeshwar firmly believed that his core competence was direction . “writing was supplementary . though i handled various aspects of cinema , i wouldn’t call myself multi - faceted . i would be happy if i excel at that one thing i choose to do , ” he declares .
as a writer and director , rajeshwar had explored different genres ; from thriller to romance . and as a cinephile , he says he also loves watching all kinds of films . “i like godard as much as i like mgr’s films . i change my mind - set based on the movies that i watch . i don’t use intellect when i analyse an mgr film . ” he also enjoys the work of satyajit ray among other filmmakers . “when you like cinema , you simply like it . there’s a different parameter for every genre . ”
rajeshwar observes that comprehensive research is the key to good writing . for instance , in spite of being raised in tirunelveli , he went back and stayed in the city to gather material for his film seevalaperi pandi . the napoleon - starrer was directed by pratap pothen . he interacted with the locals for over three months . research boosts a filmmaker’s confidence , he says .
his films , seevalaperi pandi and kovilpatti veeralakshmi were based on real life characters . however , several scenes in the films were fictional , explains rajeshwar . “the movies might be based on real people , but they were not biographies . the characters and incidents are embellished to make the movie more interesting . so , oila , an important character in seevalaperi pandi was richly embroidered .
rajeshwar also quotes veerapandiya kattabomman as an example . the fort that was ruled by the real kattabomman was built on an area that measured only about four to six grounds , he says . “and that palayam had only 10 streets , 300 hundred years ago . but in the film , kattabomman’s palace looked as enormous as a jaipur palace . likewise , we choose to exercise some freedom . ”
“but literature is the central repository . a filmmaker will understand characters and complex situations through greatest minds . if you want to understand a pimp , a prostitute , and a fallen woman , you have to read jayakanthan , tolstoy , and dostoyevsky . reading illuminates the mind . ”
a filmmaker must know his audience , rajeshwar observes . according to him , there are three types . “a ) the one that reacts to the film at a sensory level . they simply see and hear . they are happy with an elementary storyline . their iq level is low . 75 % of the audience belong to this category . ”
the theory applies to international cinema too , he opines . “what kind of films become blockbusters ? spiderman and jurassic park . ” he asks rhetorically . “those are called ‘vittalacharya - films’ here . the movie - literacy level of this group is very low . ”
directors cv sridhar , bhimsingh and bimal roy catered to ‘group b’ . “the works of these directors speak to the audience’s heart . they tap their sentiments . bharathiraja’s and k balachander’s movies too fall under this category , ” he says . the last group comprises films that were made by filmmakers like satyajit ray . “they engage with the mind . ”
“a filmmaker should be clear about his target , ” says rajeshwar . the financial viability of a project is also determined based on who receives the movie . “if a film is made for the majority of the audience , then one can play with the budget . but if it is experimental , it has to be limited . those who can afford to produce a film regardless of the return can explore . the government could also provide funding based on the merit of the artistes . ”
rajeshwar , who has been observing tamil cinema for long , reckons that films have gone through “cosmetic changes . ” but content - wise , the industry hasn’t kept pace . “it might even go worse . i was told that if aval appadithan were made today , it would be a blockbuster . i don’t agree , for it’s still taboo for a woman to talk about her sexual encounters . the profile of the audience should change . ” [ quote align = ’left’ ] ”i often state that writers should be paid 2 to 2 . 5 percent of a film’s budget . but writers are neither paid well nor respected well . they are the first ones to be forgotten . ” [ / quote ]
also , the films that had initially seemed progressive succumbed to societal beliefs . “even in the so - called progressive films of balachander or sila neragalil sila manidhargal of jayakanthan , the chastity of women is preserved sacredly . in balachander’s arangetram , lalitha becomes insane with guilt . ”
rajeshwar points out that telugu and tamil fans worship the stars . “does that happen in kerala and bengal ? literacy , social and political consciousness reflect on art . art is the reflection of culture . ”
but , a filmmaker’s success lies in the way he works within , and manipulates the established boundaries , he says . “directors make a lot of compromises , i do too . however , filmmaking is a business . we have to get our investment back . rudhraiya made two films . the second one bombed , and he couldn’t make another one for 35 years . ” even when a film is made in a conditioned environment , the creative freedom won’t be curbed , he observes .
“what is excellence ? it is all about how one creates something better despite all the limitations , with available talent and technical support . ” still , there will be highs and lows and one must stay positive , he points out . rajeshwar has only made a handful of films in the last four decades . but , he continues to write stories regularly . he would always tell his students that a story takes wings as soon as the writer finishes . it flies on its own accord , reaches a producer , and comes back at the time when it has to be made into a film , he grins . “a writer has to be optimistic and imaginative like that . ”
“it took me about 10 years to complete kovilpatti veeralakshmi . and when it released , there were mixed reactions . critics panned it . ” but rajeshwar isn’t the one to take criticism seriously . “firstly , there are no critics like roger ebert here . some still write reviews using phrases like , “ olipadhivu kulkuluvena irundhadhu ! ”but i do take some into consideration . and i was slightly low after the release . commercial fallout of the film did affect me . ”
and , it paid off . for around that time , a friend introduced him to rajkumar santhoshi . over dinner at taj , the duo discussed cinema and books for hours . rajeshwar was invited by rajkumar to join him in mumbai if he had a story to spare .
rajkumar , who had been making films with big stars , was advised by rajeshwar to make one with upcoming artistes .
“i wish you could become a brand yourself , ” rajeshwar had told him .
“you give me a script . i will make one , ” was santhoshi’s response . and that’s how , ajab prem ki ghazab kahani took shape . the premise was based on a telugu movie , soggadu , but rajeshwar wrote it afresh for santhoshi .
rajeshwar has now written the script and the songs for the tamil remake , which will be directed by one of his sons .
besides writing and direction , rajeshwar has also been busy translating vairamuthu’s songs into english . he was introduced to vairamuthu by bharathiraja , with whom rajeshwar had worked on scripts and story discussions . “i learnt the nuances of commercial cinema from the discussions i had with bharathiraja , ” he recalls . [ quote align = ’right’ ] ”we are influenced by hollywood cinema . they have limited their idiom because of the works of aristotle , plato , and shakespeare . their tradition of storytelling is different . they practice separate methods for a musical , comedy , tragedy , and drama . ” [ / quote ]
when bharathiraja’s muthal mariyathai was nominated for the national award , he wanted vairamuthu’s songs translated into english for the jury . the responsibility was entrusted to rajeshwar .
vairamuthu and bharathiraja bagged the national award for the film . “my bond with vairamuthu strengthened , for the songs fetched him the first national award , ” says rajeshwar , who translated over 200 songs penned by vairamuthu , including the ones that brought him six national awards .
rajeshwar vehemently disagrees with the recent opinion that songs are redundant , and that they interrupt the narrative . he believes that filmmakers fail to use them cleverly . “we are influenced by hollywood cinema . they have limited their idiom because of the works of aristotle , plato , and shakespeare . their tradition of storytelling is different . they practice separate methods for a musical , comedy , tragedy , and drama . ”
our storytelling technique stems from koothu , he explains . “theatre was born out of koothu and cinema was born out of theatre . songs are integral to our stories . our way of storytelling is a gift to world cinema . ” we should not be guilty to convey a story through dance and music , says rajeshwar .
“film songs , when properly used , become sub - text to the story . it makes the audience understand the philosophical side of the characters . ”
nenjil or aalayam is a flat drama without songs , he continues . “but sonnadhu nee dhaana and ninaithathellam act like undercurrents . we understand the characters’ state of mind well . could there be a better climax than the song kelviyin nayagane for aboorva ragangal ? ”
2015 will be a busy year for rajeshwar . besides the tamil remake of ajab prem ki ghazab kahani , he plans to film g nagarajan’s novella naalai matrum oru nale . he has written the script and aims to send it to the cannes film festival .
rajeshwar will also join blue ocean film and television academy ( run by g dhananjayan in association with satyabhama university ) , as the head of script writing .
his book on screenplay writing is also ready to be published . the book features key inputs that rajeshwar has gathered out of his own experiences and from the works of other masters . “in the foreword , i have mentioned that one must understand the difference between news and a story . news , when it is well sculpted , becomes a story . a story , when it is badly sculpted , becomes news , ” he laughs .
rajeshwar strongly believes that writers in tamil cinema are not recognised enough . “i often state that writers should be paid 2 to 2 . 5 percent of a film’s budget . but writers are neither paid well nor respected well . they are the first ones to be forgotten . ”
“unless i win an award or attend events , i won’t be remembered . tell me who wrote pasamalar and veerapandiya kattabomman ? ” he shoots a rhetorical question . “it is hard for us to get noticed . ”
rajeshwar delivers the last gem for the day when i ask about his path ahead .
“ when someone tells me , ‘’andha kaalathula , sir … , ’ the very phrase suggests that he is stuck in the past , ” rajeshwar laughs .
“as long as my mind is sharp and i am able to connect with current trends , i will continue to make films . i will not be sceptical about the changes , but be abreast of them . ”
what about ridley scott , steven spielberg , and clint eastwood ? he questions suddenly . “aren’t they making films ? rajeshwar is still young at heart , ” he tells me in third person .
rajeshwar chuckles when he tells me this . and suddenly , becomes quite cheerful . his sombre mood lifts . i relish good humor , he says , and narrates a comedy that he plans to make .
it’s a hilarious story . when i laugh , he makes a suggestion . “read woody allen’s getting even . you will laugh your head off ! ”
“when bharathiraja was shooting muthal mariyathai , he chanced upon an ad of a film called thaye neeye thunai , directed by somasundar . ”
a chagrined bharathiraja , who mistook somasundar for somasundareshwar , was a little miffed with his friend for making a film without informing him . “i told him i would never direct a film like that , ” he laughs again . to avoid more confusion , bharathiraja then advised him to change his name .
so , retaining ‘eshwar’ from his given name , somasundareshwar added the prefix ‘raj’ .
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my father gopinath is a renowned director who has done films like raman parsuraman . as my family was into films , my progression in to the industry was natural but i was not sure where i would fit in . hence i tried my hand as an editing assistant and also as a dance assistant for some time . meanwhile , my dad’s friend , a photographer opined that i have good looks to become a hero and shot a few stills of mine . i was quite impressed with the result . with my pictures , i met director sridhar and many other directors looking for offers but in vain .
the stupendous success of the film completely changed my life . till the nineties , i played the role of a lover boy in many films and at one point , i was so tired of doing the same role again and again and wanted to
try out different characters . that’s when i refused 13 films . i wanted to try out action , negative shades and so on . telugu films quenched my acting thirst and i shifted to tollywood and earned myself a good name and fame as action hero there . i even produced four films and six television serials .
saran is a talented young director and sivaji films is such a big banner . more than all that , it is such a rejuvenating experience to work with ajith . i feel i am renewing myself . i feel i was just born yesterday .
i don’t want to fix myself as a villain . i am ready to do any role .
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police police rehashes raja’s own evergreen botany class in a zingier package . shapath has a morose sound , bears strikingly beautiful interludes but raja’s vocals is a problem . kaise kahen , despite being an 80s raja tune , sounds amazingly fresh in its renewed avatar , while the other rehashes – josh mein and saara yeh , despite being classics in the original versions , are out of sync in hindi and too south indian for bollywood , respectively . dheemi dheemi carries the composer’s current sound and is a competent melody . ilayaraja’s cult status may not expand to the north with this soundtrack . but , well tried , rgv !
i am regular reader of your blog . i think , you are posting many reviews for music albums as soon as possible even after 1 or 2 or 3 times listening ? ? . have you felt that you have given wrong / insufficient / for any earlier reviews ? or did you modify any review later ? .
hi kumar ! that’s a very valid question . i do listen to the tracks closely at least 3 / 4 times before forming a conclusion . but yes , there are times when the soundtrack grows with repeated listening…rang de basanti was one such example . but i try to post the first impression in the form of 100 words , so i dont feel the need to modify any review that perhaps impresses me much later .
hi karthik , i came across your comments in tfmpage and visited your milliblog site and instantly liked it . since then i have been a frequent visitor and always look forward to your review before start listening to any album . the reason is that many a times your review exactly matches with what i think about a particular track . the only exceptions are with albims from karthik raja keep up the good work !
in hindi , i meant . perhaps the effect of listening to it for years in tamil !
growing up listening to irs tunes and having listened to the original tracks in tamil over the years , my fist impression to shiva film songs was that it was out of sync . but , after listening to the tracks a few times ( especially on a good music system ) my impression changed quite a bit . the orchestration and recording are excellent . the blend and balance of instruments and irs wizardry with the violin is spell binding . the original tamil track “anandha ragam” sung by uma ramanan ( i think i’m right ) is one of my favorite songs and have wondered many a times if illayaraja would re - record this song in a modern recording facility…i’m happy he did . shreya ghoshal shines in this number . ir picked the right voice for the song . this track will sure stay in my play list for a long time . as for the other tracks , though they are rehash of old songs , the orchestration is brilliant ! ! !
i second ananth’s view completely . the tracks of shiva grow on u like a parasite…slowly . both dheemi dheemi and saara yeh aalam were just mindblowing ! ! ! the guitar and violin in dheemi ( 2 ) were stamps of a genius and the violin usage in saara yeh aalam ( the starting is wow ) is stuff which only ilaiyaraja can compose . also ir has changed the charanam in saara yeh… . it has 4 tune changes and sounds even better than aananda raagam . thats legendary class for u .
sign up to get milliblog weeklies on email , every weekend . brand new music as weekly playlists on apple music , saavn & youtube , with a note on each song .
200 300 akshay kumar amit trivedi anirudh ankit tiwari anup rubens arjun janya a r rahman deepika padukone devi sri prasad d imman g . v . prakash kumar ghibran gopi sundar gopi sunder gv prakash kumar harris jayaraj himesh reshammiya ilayaraja joshua sridhar kajal agarwal kareena kapoor manikanth kadri manisharma mani sharma meet bros anjjan mickey j meyer mithoon pritam priyanka chopra rahul raj sachin - jigar sajid wajid salim sulaiman salman khan santhosh narayanan shaan rahman shankar ehsaan loy thaman thaman s vidyasagar vijay antony vishal shekhar yuvan shankar raja
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a little romance , channel 9 ( malaysia ) , ratchagan , malaysia vasudevan , p . vasu , santhana bharathi , simhendramadhyamam , venniradai moorthy , prathap k . pothan , shanthi krishna
this film is a remake of a little romance , a 1979 romantic comedy film starring laurence olivier with thelonious bernard and diane lane as the two young lovers . the film has been dubbed in malayalam as panineer pookkal and was a success .
to feature in his films , but his effort went in vain . he then met director duo
he chose the former , but both films went on to becoming large commercial successes during the period .
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during an impromptu discussion , k . rajeswar had narrated the story of two convent students coming of age to gangai amaran . moved by the tale , gangai amaran gave the directorial opportunity to directors p vasu and santhana bharathi at the helm . [ 2 ] p . vasu , son of make up man peethambaram and santhanabharathi , son of producer m . r . santhanam , both assisted c . v . sridhar earlier made their directorial debuts with this film . [ 3 ] [ 4 ]
the soundtrack was composed by ilaiyaraja while lyrics were written by gangai amaran . [ 6 ] ilaiyaraja later reused
ananda ragam
as
saara yeh aalam
in shiva ( 2006 ) . [ 7 ]
deepan chakravarthy , s . n . surendar , t . k . s . kalaivanan
this page was last edited on 10 june 2018 , at 18 : 33 .
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although , we saw some bollywood originals in the past few years , there have been times when bollywood imitated hollywood with little or no creativity at all . while in some of them , only the central idea is same , there are others in which the whole plot is a blatant rip - off of some hollywood movie .
ensure your application gets content from any user , any device , anywhere in the world with filestack .
1 . dhamaal ( 2007 ) - it ' s a mad , mad , mad , mad world ( 1963 ) dhamaal , one of the most fun - filled moviesis an official remake of an american comedy , it ' s a mad , mad , mad , mad worldin which the dying words of a thief spark a madcap cross - country rush to find some treasure .
2 . baazigar ( 1993 ) - a kiss before dying ( 1991 ) the plot of these two movies revolves around the same characters where a man takes his revenge from a billionaire by having relations with his daughters .
3 . mere dad ki maruti ( 2013 ) - dude , where ' s my car ? ( 2000 ) mere dad ki marutitakes its plot from the 2000 hollywood filmdude , where ' s my car ? the plot revolves around two young men who find themselves unable to remember where they parked their vehicle after a night of recklessness .
4 . aitraaz ( 2004 ) - disclosure ( 1994 ) aitraaz , an erotic thriller released in 2004 is inspired by the 1994 american filmdisclosurewhere the main focus of the story is the issue of sexual harassment at work places .
' s a story of a couple whose marriage goes dangerously awry when the wife indulges in an adulterous affair with another man .
6 . dushman ( 1998 ) - eye for an eye ( 1996 ) eye for an eyeis an american psycholigicalthriller film that gave a source of inspiration to a bollywood movie calleddushman . the story revolves around a woman who seeks her own form of justice when the courts fail to keep behind bars the man who raped and murdered her daughter / sister .
7 . awaara pagal dewaana ( 2002 ) - the whole nine yards ( 2000 ) the storyline of the crime - comedy filmawaara pagal deewanais loosely based on the moviethe whole nine yardsthat was released in 2000 .
8 . agneepath ( 1990 ) - scarface ( 1983 ) the iconic character of amitabh bachchan is inspired from another iconic character and that too , al pacino from the movie , scarface . the story of the movie revolves around a low life scum who , through his ability to fight for respect , makes it to the top and becomes a mafia .
9 . bichhoo ( 2000 ) - leon : the professional ( 1994 ) bichhoo ( 2000 ) follows the story of a cold and ruthless hit man who ends up taking care of his neighbors ' daughter after her entire family gets whacked by corrupt officers . just like it is shown in the movieleon : the professional .
10 . baghban ( 2003 ) - make way for tomorrow ( 1937 ) baghbanandmake way for tomorrowshare the same plot which concerns an elderly couple who are forced to separate when they lose their house and none of their children take their parents in their house .
11 . abhimaan ( 1973 ) - a star is born ( 1954 ) abhimaanis said to be inspired from real life incidents but it also has similarities with the story of a movie , a star is born ( 1954 ) . the story revolves around a popular singer who convinces his wife to enter show - business , but his pride is wounded when she outshines him .
12 . alone ( 2015 ) - alone ( 2005 ) alone , the bollywood one is a remake of a thai movie with the same name in which the twin sisters who were conjoined at birth lived by one promise that they will always be together and they will never separate . however , some mysterious circumstances leads to the death of one while the other survives . years later , the ghost of the dead comes back to haunt thesurviving sister .
13 . awarapan ( 2007 ) - a bittersweet life ( 2005 ) awarapanis an uncredited remake of a south korean moviea bittersweet lifewhich illustrates the ethical codes in the korean mob and how they clash with personal morality .
14 . aradhana ( 1969 ) - to each his own ( 1946 ) the theme of the movie , aradhanais basedon the 1946 movieto each his ownin which an unwed mother is forced to give up her child to avoid scandal .
15 . jo jeeta wohi sikandar ( 1992 ) - breaking away ( 1979 ) the plot of the moviejo jeeta wohi sikanderhas certain similarities to the 1979 american moviebreaking away . now who doesn ' t remember that cycle race ?
16 . shaukeen ( 1981 ) - boys ' night out ( 1962 ) shaukeenis an adult comedy that shares its storyline with the 1962 releaseboys ' night out , based on a theme of ' old men and sex ' .
17 . murder 2 ( 2011 ) - the chaser ( 2008 ) murder 2 ( 2011 ) is a copy of a korean film calledthe chaser ( 2008 ) . the story is that of a former police officer that is hired by a gangster to trace missing call girls and their abductor by using the skills of his old job .
18 . main khiladi tu anari ( 1994 ) - the hard way ( 1991 ) main khiladi tu anariis a remake of the 1991 release , the hard wayin which a movie star tags along with a hard - boiled policeman to research a movie role .
19 . ghulam ( 1998 ) - on the waterfront ( 1954 ) ghulamis a remake of the movieon the waterfront ( 1954 ) . however , it is not the first time that remake ofon the waterfrontis done in bollywood . it also inspiredkabzaastarring sanjay dutt .
20 . judwaa ( 1997 ) - twin dragons ( 1992 ) judwaais copied from the 1992 releasetwin dragonsin which two identically twin brothers are separated at birth . however , one remains with his parents and the otherturns out to be a gangster .
21 . 3 deewarein ( 2003 ) - the shawshank redemption ( 1994 ) 3 deewareincannot be taken as a straight inspiration fromthe shawshank redemption . however , the movie has some similarities in the relationship anglesand the jail break sequence , which makes us rememberthe shawshank redemption .
22 . mohabbatein ( 2000 ) - dead poets society ( 1989 ) mohabbateinis loosely based on the classic movie , dead poets society , especially the first half , leaving out the shahrukh - aishwarya romance story and the connection with amitabh bachchan .
23 . aamir ( 2008 ) - cavite ( 2005 ) cavite , released in 2005 , has exactly the same narration as we have seen inaamir . the story revolves around a man flying back to his home country is forced to participate in a terrorist plot and is threatened , if he doesn ' t comply with certain demands .
24 . krrish ( 2006 ) - paycheck ( 2003 ) krrishis inspired from the hollywood flickpaycheckthat had almost the same storyline .
25 . citylights ( 2014 ) - metro manila ( 2013 ) citylightsis a remake of a 2013 releasemetro manilawhich is a story of a poor family trying to escape from rural poverty by migrating to the big city .
26 . pyar to hona hi tha ( 1998 ) - french kiss ( 1995 ) this bollywood flick is a remake of the 1995 hollywood filmfrench kissin which a woman flies to another country to confront her straying fiancé and gets into trouble when the charming crook seated next to her uses her for smuggling .
27 . rock on ( 2008 ) - the happy life ( 2007 ) the movie , rock on , is loosely based on the south korean film , the happy lifewhich was released in 2007 . its story revolves around the reunion of the rock band which broke up some years ago .
28 . jazbaa ( 2015 ) - seven days ( 2007 ) another south korean remake is the 2015 releasejazbaawhich has a lawyer as the protagonist , who is on a mission to save her kidnapped daughter , by fighting a case for an alleged criminal who is on a death row for committing heinous crimes like rape and murder and she has only seven days for the trial .