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Kamal Haasan played Nayagan albeit as a tribute to Brando, but this role is a mix of Brando’s Vito Corleone, Pacino’s Michael and a hat-tip to De Niro’s portrayal of the younger Vito in The Godfather 2. Here was a guy beaten to pulp by a rogue cop, covered in blood, but one who displayed both restraint and power when he says, “Naan adichcha nee sethruva.” And indeed, he keeps up his warning to the erring cop, as much as he keeps up his word right through-be it to Selvam or Neela or the people in his city who go to him for help. Velu Nayakar was not likeable in the conventional sense-he was the most intimidating man I had ever seen up until then. I also wanted to go back to what was easier to like in terms of how I’ve always seen a 'hero' on screen. I wanted to forget Nayagan and go back to liking my usual song and dance films, and the fights in them.
When the preview show ended, I was a mixed bag of emotions-I looked for something easier to toy with in my mind.
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Not to forget the music of Nino Rota and Ilaiyaraaja and the cinematography of Gordon Willis and PC Sreeram! I’ve seen both these films multiple times ever since and I’ve a list of favourite things to draw up from Coppola and Mani Ratnam as much as Brando and Haasan. It was only after Nayagan that I even sat down to see The Godfather. On a parallel note, Kamal Haasan set a whole new idiom to the term 'actor' with this film. I would devour films made by these auteurs because the term 'director' had a new-found respect in my eyes. Mani Ratnam made me revisit a Mahendran, Bharathiraja and K Balachander.
#Pradhi nayagan malayalam movie movie#
That one movie made me feel all 'grown up'. Nayagan left me bewildered, bewitched and shook my understanding of cinema. The little less-precocious me, for whom cinema was till then only defined by the big family outings, song-and-dance routines, and popcorn, sat up in her chair, and then stood up, wanting to see the moving images above the heads towering in front of her! The opening of the film was a story of a boy who perhaps was the same age as me then, but whose life was beset with a life-threatening situation! What will the boy do? I was hooked to Velu’s story. I was 12 years old when I saw this film in a preview screening as the producer was a family friend. Not a surprise, as an entire generation's cinematic sensibilities were awakened along with mine, with this one film, before which the name Mani Ratnam had become familiar with the sleeper hit, Mouna Raagam. My first such 'film awakening' moment arrived with Nayagan.
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In a world where cinema exists only in our minds and TV screens, nostalgia is a great pool to dip into and evoke that same effect you once had when you saw a film for the first time. This week, this column is about a film that has gone on to shape my future lists of favourite films and actors, favourite writers and directors.
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