Certain Movies Are Not Created Through Planning Or Accuracy. They Are Brought Out By A Very Precise Point In The Life Of A Filmmaker- An Age, An Emotion, A Stage Of Living That Can Never Be Reproduced. After Such A Stage Has Eluded The Director, The Director Develops And Leaves. What Is Not Changing With The Times Is A Great Film. What Becomes Dim Is The Filmmaker Who Was Capable Of Doing It.
See Look At Siva By Ram Gopal Varma. The Film Vibrates With Disobedience, Anger, And A Fearless Attitude Toward Violating Regulations. The Intensity Of That Was Not Created By Craft Alone, But By An Ambitious, Defiant Young Director. Varma Was Recognised And Mastered The Technicality Over The Years, Yet Never Came Back That Savage Anger. It Had Been A Part Of That Youthful Time.
The Same Fact Resides Within Sakhi By Mani Ratnam. The Movie Is A Curious And Sensitive Exploration Of Love, The Thrill Of Love, The Wrong Moves, And The Silent Realities Of A Marriage. Even To A Film-Maker Of His Stature, This Light, Close-Knit Compression Was Related To A Certain Stage Of Life, When Love Was Still More Being Experienced Than Theorized.
Then There Is Tholi Prema Of Karunakaran. The Movie Is Laden With Delicateness, Trepidation And Vulnerability Of Infatuation. It Is Sincere, As It Was Created By One Who Had Not Lost Too Completely To These Feelings–One Who Recalled How It Had Been Before Experience Dulled The Contours.
Certain Movies Are Intensely Real Since They Emanate Directly Out Of The Recollections Lived In. C/O Kancharapalem By Venkatesh Maha Is Less A Work Of Fiction And More A Memory- Lane, Lives, Hearts. Middle Class Melodies By Vinod Anantoju Is An Innocent Capture Of Small Town Dreams And Warmness. And Little Hearts By Sai Marthand Has An Emotional Indecision, And Instability Of The New Generation.
Telugu Movies Are Full Of Such One-Time Productions. There Is A Peaceable, Optimistic Mood To Anand By Sekhar Kammula. Pelli Choopulu By Tharun Bhasker Revels In The Clumsiness Of The Coming Of Age. Nag Ashwin In Yevade Subramanyam Seems To Be On A Personal Quest To Find Meaning. And Arjun Reddy By Sandeep Reddy Vanga Is A Crude Emotional Bomb Blast–Unpolished, Fully Burned And Pegged On A Particular Kind Of Mentality.
As Time Passes, The Directors Become More Keen. Their Narrations Are More Restrained, Their Sight Is More Sophisticated. But Some Feelings Sneak Off, Without Much Commotion, Careless Rage, The Fervour Of Early Love, Untried Ambition, Childlike Inquisitiveness. These Emotions Cannot Be Reproduced On Demand. They Are Not Methods To Learn; They Are Experiences To Be Experienced.
And That Is The Unspoken Agreement Of Any Classic Movie. Viewers Are Given A Film Which Can Be Watched Around The Clock. However, The Movie Producer Abandons The Variant Of Himself Which Created Such An Opportunity. When We Get Back To These Classics We Are Not Reading An Account Just Another Story, But A Fragment Of The Inner World Of Another Person. Something That Viewers Can Revisit Over And Over Again, The Creator Cannot.
