Mani Ratnam
Mani Ratnam | |
---|---|
Born | Gopalaratnam Subramaniam 2 June 1956 Madurai, India |
Alma mater | Jamnalal Bajaj Institute of Management Studies |
Occupations |
|
Years active | 1983–present |
Spouse | |
Children | 1 |
Relatives |
|
Honours | Padma Shri (2002) |
Gopalaratnam Subramaniam (born 2 June 1956)[citation needed], known professionally as Mani Ratnam[citation needed], is an Indian film director, film producer and screenwriter who predominantly works in Tamil cinema[citation needed] and few Hindi, Telugu, Malayalam and Kannada films. He is one of India's most acclaimed and commercially successful filmmakers. Ratnam has won six National Film Awards, four Filmfare Awards, six Filmfare Awards South,[1] and numerous awards at various film festivals across the world. In 2002, the Government of India honoured him with the Padma Shri, acknowledging his contributions to film.
Despite being born into a film family, Mani Ratnam did not develop any interest in films when he was young.[
Ratnam revolutionized Tamil-language cinema and is the biggest director in south India and one of the most respected directors in all of India. Each of his films contain its own unique style, with beautifully photographed songs and unique back-lighting. Exploring success in romantic, terrorism war and drama films. His epic historical dramas Ponniyin Selvan: I (2022) and Ponniyin Selvan: II (2023) based on the Indian epic written by Kalki Krishnamurthy was another critical and commercial hit with the former becoming the 25th highest-grossing film in India and 5th highest-grossing Tamil film.
Early life
Mani Ratnam was born on 2 June 1956 in
Personal life
Ratnam married actress Suhasini on 26 August 1988.[11] The couple have a son.[12] The family resides in Alwarpet, Chennai, where he runs his production company, Madras Talkies.[13][14]
In 1995, Mani Ratnam was wounded and hospitalised after homemade bombs were thrown at his home by attackers, suspected by police as Muslim extremists, in the wake of opposition to his film Bombay which portrayed the romance of a Hindu man with a Muslim woman.[15]
An FIR was filed on Mani Ratnam and 49 others in 2019 when they wrote to Modi listing statistics and expressing concern over the rise of communal violence against minorities including Muslims, Christians and Dalits since Modi's Bharatiya Janata Party (BJP) took power in 2014.[16][17]
Film career
Beginnings: 1977–1983
Mani Ratnam was not satisfied with his job as a consultant as he found it to be a mere extension of his academics. During this time his friend Ravi Shankar, son of director B. R. Panthulu, was in the process of making his first film. Mani Ratnam, Ravi Shankar and another friend Raman, son of filmmaker S. Balachander, worked on the script of the film.[10] Mani Ratnam took a sabbatical from his job to ensure his participation in the making of the film. Being inexperienced, the makers were largely dependent upon the American Cinematographer magazine. The principal cast included Vishnuvardhan, Srinath, Ambareesh, Lakshmi, and Roja Ramani. When the filming was about to begin in Kolar, Karnataka, Mani Ratnam left his consulting job and joined the crew. The film, however, did not take off and was eventually shelved. Nevertheless, he was firm in his idea of becoming a film-maker. Although not impressed with many of the films made in Tamil cinema, he was "amazed" at Bharathiraja's 16 Vayathinile (1977), K. Balachander's Apoorva Raagangal (1975), and Mahendran's Mullum Malarum (1978) and Uthiripookkal (1979). During this time, he befriended a group of people namely P. C. Sreeram, Santhana Bharathi, and P. Vasu, who shared his interest of entering into the film industry.[10]
With a script in hand, Mani Ratnam had an idea to either get a producer for his film or to narrate the script to a "celebrated" film-maker, so that he could get a chance to work along with them and get to know about the various aspects involved in film-making. He chose three directors—Balachander, Bharathiraja, and Mahendran. As the attempts to meet and convince all the three proved to be unsuccessful, he decided to look out for a producer. In the process, he along with P. C. Sreeram—who would collaborate with him in most of his future projects—met around 20 people; however, all the efforts turned out to be unsuccessful.[10]
Early years and struggle: 1983–1986
Mani Ratnam developed a script—originally written in English—into a film and named it
Breakthrough: 1986–1991
In 1986, Mani directed the Tamil romantic drama
In 1987, Mani directed
Following these two commercial successes, Mani wrote and directed Agni Natchathiram in 1988.[35] The film deals with the story of step-brothers played by Prabhu and Karthik[23] and is notable for its use of new techniques in camera framework, especially during the songs.[36] The film had a successful run in the box office.[6][35]
In 1989, Telugu actor
National acclaim: 1992–1999
With
Mani again teamed up with Ram Gopal Varma to provide the screenplay for the latter's Telugu film Gaayam, a socio-politico film loosely based on The Godfather.[50] In 1995, Mani returned to Tamil language drama through Bombay starring Arvind Swamy and Manisha Koirala, which told the story of a Hindu-Muslim couple in the midst of the 1993 religious Bombay riots and bombings. It was also the first Indian film to focus on marriage between Hindu and Muslim people.[51] The film met with controversy and censorship upon release.[51] It was subsequently dubbed into Hindi where it gained commercial success and appreciation by critics.[51] It won a number of awards, such as Nargis Dutt Award for Best Feature Film on National Integration, Political Film Society Awards|Special Award from the Political Film Society,[52] In the Spirit of Freedom Award at the Jerusalem International Film Festival[53] and the Gala Award at the Edinburgh International Film Festival.[54]
Mani produced his wife's directorial debut film,
In 2000, Mani directed the romantic drama
Along with
Kannathil Muthamittal and onwards: 2002–2010
Mani's next film,
In 2007, Mani made
The film is loosely based on the Hindu epic
Comeback: 2013–present
Mani's film, Kadal was released worldwide on 1 February 2013 to mixed reviews from critics and became a box office failure. Later the distributor of the film filed a police complaint against Mani on account of the huge losses suffered by him.[88]
His next film,
His next was Kaatru Veliyidai, starring Karthi, Aditi Rao Hydari and RJ Balaji.[92] The film, set in 1999 during the Kargil War, followed a pilot who, during his time as a prisoner of war, reflects on his failed love life. Kaatru Veliyidai was released in April 2017 to mixed reviews and received an average box office return.
After Kattru Veliyadai, Ratnam's next film was the crime thriller
Craft, style, and technical collaborations
Mani Ratnam grew up watching the films of K. Balachander, Guru Dutt and Sivaji Ganesan.[97] He is greatly influenced by the film-making styles of Akira Kurosawa, Martin Scorsese, Krzysztof Kieślowski, Ingmar Bergman and Mahendran.[97][98]
Unlike most of his contemporaries, Mani Ratnam did not assist anybody in film-making prior to entering the industry.[99] A majority of his films are characterized by a string of socio-political themes.[100] Because of his idea of combining art and commercial elements, most of his films garnered both critical acclaim and commercial success.[100] Nayakan, Bombay and Iruvar were inspired from real-life incidents, while Thalapathi and Raavan were based on Indian epics.[49]
Mani Ratnam handled screenplays for a majority of his films. Lauded for his casting in each of his films, he claimed in an interview that "I am not a director who performs and shows. I discuss the role, the scene with my actors and let them bring life to it".
Awards and honours
Mani is well recognized outside India with a retrospective of his films held at various film festivals around the world such as
The
See also
- List of films directed by Mani Ratnam featuring A. R. Rahman
- List of awards and nominations received by Mani Ratnam
Notes
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Bibliography
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Further reading
- Bal, Mieke (2004). Narrative Theory: Critical Concepts in Literary and Cultural Studies. ISBN 978-0-415-31661-3.
- Benjamin, S. (2006). A rose by any other name: exploring the politics of Mani Ratnam's Roja. Contemporary South Asia. pp. 423–435.
- Mallhi, Angie (2006). The Illusion of Secularism: Mani Ratnam's Bombay and the Consolidation of Hindu Hegemony. University of Victoria: CAPI Occasional Paper #31.Victoria: Centre for Asia-Pacific Initiatives.
- Terska Ciecko, Anne (2006). "National Cinema and State Authority". Contemporary Asian Cinema: Popular culture in a Global Frame. ISBN 978-1-84520-237-8.
- Gopalan, Lalitha (2005). Bombay: BFI Film Classics. London: ISBN 978-0-85170-956-7.
- Nagappan, Ramu (2005). "Momentary Pleasures of Reconciliation". Speaking Havoc: Social Suffering & South Asian Narratives. ISBN 978-0-295-98488-9.
- Velayutham, Selvaraj (2008). Tamil Cinema: The Cultural Politics of India's Other Film Industry. Routledge. ISBN 978-0-415-39680-6. Archivedfrom the original on 2 November 2021. Retrieved 22 September 2016.
External links
- Media related to Mani Ratnam at Wikimedia Commons
- Mani Ratnam at IMDb