Moondram Pirai

<p>Bhagyalakshmi, a young woman, has a car accident while returning from a party and is hospitalised with severe head injuries. When she recovers, she is diagnosed with and she fails to recognise her own parents. She mentally regresses to the state of a child. While she is undergoing treatment, she is kidnapped and sold to the madam of a brothel. R. Srinivas, also known as Cheenu, comes to to meet his old friend. Together, they visit the brothel for services rendered. The madam sends Bhagyalakshmi, renamed Vijaya, to his room. Cheenu realises that she is mentally still a child and pities her. He learns that she is from a cultured family, and that she was kidnapped and forced into prostitution. Cheenu returns the next day and, after paying a huge sum to the madam, takes Vijaya out, supposedly on a pleasure trip. He takes her away to , where he is working as a school teacher. He takes her to his residence, where he protects her and also looks after her like a child. Viji, as she is called by Cheenu, has completely forgotten her past and becomes very close to him. When Viji accidentally spills ink over Cheenu’s documents, angering him, their relationship is threatened, but they reconcile. Later, a local woodcutter named Natarajan lusts for Viji and nearly assaults her, but she manages to save herself. When she tells Cheenu about it, he becomes enraged and almost kills Natarajan, but is stopped by his neighbours who were informed of the incident by Viji. Meanwhile, the wife of Cheenu’s headmaster is attracted to Cheenu, but he does not reciprocate her feelings. Viji’s father Vedachalam, who was searching for her through the police, releases a newspaper advertisement about his lost daughter. A co-passenger who had travelled with Cheenu and Viji from Madras to Ooty by train gives them a lead. Cheenu takes Viji to an practitioner and leaves her there for a day’s treatment. In his absence, the police come to his house searching for Viji. Finally, the police learn that Viji is getting treated at the doctor’s place and reach there. Cheenu is unable to come as he is afraid of police action. The treatment goes through successfully. Viji regains her memory, but completely forgets about the period between her accident and recovery. From the doctor, Vedachalam learns that the person who had brought her there had been taking good care of their daughter; he withdraws his police complaint and they begin their journey to Madras with Viji. After the police leave, Cheenu comes running after the car in which Viji is travelling. He follows them to the railway station and tries to gain Viji’s attention, but she is unable to recognise him. Cheenu acts like a dancing monkey that Viji developed a liking for, but Viji, unable to comprehend, thinks he is insane and begging for food. Cheenu continues his futile attempts to gain her attention, and the train eventually leaves with Viji not recognising him. Cheenu, who was injured while chasing her car and trying to get her attention, walks away, heartbroken. was the first film produced by and G. Saravanan’s production company, . Thyagarajan, who was looking after Sathya Movies owned by his father-in-law , started Sathya Jyothi Films on his own to make “slightly offbeat films”. and Thyagarajan had been friends since childhood as both their fathers were partners of Venus Movies. Ratnam introduced the director and cinematographer to Thyagarajan as Ratnam felt Thyagarajan would be the right person to produce the film that would later become . After hearing Mahendra’s story, Thyagarajan’s father liked the plot and asked him to proceed. After the project was finalised, Mahendra took one month time to complete the script and he worked on the budget alongside film’s production manager Govind. The budget was fixed at (equivalent to 6.7 crore or US$800,000 in 2023). A. Ramaswamy and D. Vasu were in charge of art direction and editing respectively. While discussing the casting, Mahendra suggested as the lead actor as he “would do excellent work”. Haasan has stated that, when Mahendra narrated the story of to him, he listened to Mahendra for about twenty minutes before accepting the role of the male lead Cheenu. The role of Bhagyalakshmi / Viji was initially offered to , who could not accept the role due to her prior commitments. It was Haasan who successfully suggested for the role. , who had done around 20 films by then and was considered only for performing , was cast as the headmaster’s sexually excited wife, as Mahendra wanted a woman who was “sexy and at the same time a rustic beauty”. was initially reluctant to portray the headmaster as it deviated from the character roles he was then known for, but after convincing by Mahendra, agreed. Principal photography began with a at . was predominantly shot in and , a small town situated close to the former. Shooting also took place in . Mahendra shot the montage shots for the songs “Poongatru” and “Kanne Kalaimaane” simultaneously. The interior shots of “Kanne Kalaimaane” were shot within two days with Mahendra “would shoot the exterior portions while we were moving from one location to another”. For a minor fight scene involving Cheenu and Natarajan ( ), Haasan and Mahendra told the stunt choreographer that it shouldn look like a street brawl, rather than a “regular movie fight”. Natraj and Haasan performed their own stunts by jumping into a stream water. Haasan ensured he looked fit in the song “Ponmeni Uruguthey” and worked out to get a “sculpted physique”. This was the film’s only song to have rehearsals for one week in Madras (later renamed ). Mahendra did not want to shoot the song in “flat light”; he shot it “in the early morning, from 6am to 8am, then we’d take a break, and then, we’d assemble again by 4.30pm, and then shoot from 5pm to 7pm, as the sun was setting” and managed to finish the song in five days. In April 2006, Mahendra said that the inclusion of the song was “absolutely unnecessary”; the sole reason for its inclusion was the presence of Smitha in the song to help promote the film. Mahendra did not find hiring a train expensive at that time; as a result, he hired a train for the film’s scene where Cheenu and Viji depart for Ketti, and another train for the climax which was shot at the . Although it was raining on the day the climax was shot, Mahendra decided to continue shooting the scene even though the rain was not part of the film’s script. It took nearly five days to film the climax. The scene where Cheenu hits himself on the pole while walking towards the train was not planned; Haasan performed it in the middle of the shot. To shoot that scene, Mahendra sat on the steps of the train with a rope tied around his waist with crew holding and preventing him from falling down. Despite being in such a “precarious position”, he managed to get the shot right and approved it in a single take. Haasan refused to use a , and strove to make Cheenu’s injuries look real, including giving the character a and swollen lips. In the post-production phase, Smitha’s voice was dubbed by Anuradha. Mahendra supervised Anuradha’s dubbing session and taught her the methods to emote the dialogues for Smitha in the film. While the film was under production the team was scoffed at for making a film about a youth falling in love with an amnesiac, and that the film would not be a box office success. The film uses intense music in both its opening and closing credits. The final length of the film was roughly 3,918 metres (12,854 ft). depicts a young woman whose mental state regresses to that of a child following an accident. Sexuality and the repression of desire are dominant motifs, similar to Balu Mahendra’s previous film (1980). The film also explores the possibility of unresolved sexual tension between the protagonists. When asked about the reason amnesia was chosen for a disability, Mahendra said the disorder is used as a camouflage and as an excuse to portray relationships in the film. Film critic finds the sequence where Cheenu narrates the story of to Viji to be a distant echo of the arc negotiated by Cheenu: “He is, after all, a nobody [like the jackal] who, through a salubrious twist of fate, becomes the ruler of a woman’s life, until he is restored, at the end, to the nobody he was, a fraudulent claimant to her emotions.” In his book , Rangan says that although Haasan is inspired by , the scene where Haasan burns himself while cooking and vents his anger on Sridevi, is reminiscent of the acting style of . In another book of Rangan, , he states that in the scene where Cheenu enters Bhagyalakshmi’s room in the brothel, there was fumbling and embarrassment, whereas in another Haasan film (1987), his character, Velu Nayakar, behaves as if he has visited a brothel before. s director replied that the two scenes are very different from one another and that it “can’t be played the same way”. Rangan called “The apotheosis of [Balu Mahendra’s] art”. Nandini Ramnath, writing for the website , noted that contains elements common in Balu Mahendra’s other films: “realism, evocative and naturalistic cinematography, strong performances, and psychosexual themes that drive the characters to make unusual and often tragic choices.” Hari Narayan of said Cheenu “looks like a melange of ‘ tragedy and ‘s .” Narayan explains the idea of Cheenu keeping Bhagyalaskhmi with him not only as an act of sympathy and love, but also with the intention to preserve her like a portrait. Narayan also states that when Bhagyalakshmi recovers her memory and forgets him, Cheenu is hesitant to come back to his quiet existence, realising that in reality, dreams feel like its . Malathi Rangarajan of considers the usage of a railway station in the climax scene to reflect the Tamil cinema trope of “Turning points, crucial interludes and significant twists” taking place in such places. According to S. Shiva Kumar of , the climax of the film was a clear allusion to Mahendra’s then wife ‘s death. Thyagarajan denied this, saying Mahendra narrated the story to him much before, and Shoba’s death occurred only once the project was being finalised. The music of the film was composed by . The soundtrack was released through the record label Agi Music. The number “Kannae Kalaimane”, which is based on the , was written by in “about two minutes” time, after listening to the film’s story and the situation for the song. According to his daughter Kalaiselvi, the song was written with his wife in mind. Kannadasan was present at the recording session of the song, which took place in September 1981. It was the last recorded song which Kannadasan wrote before his death in October 1981. “Poongatru” was based on the raga. Do you know that got an ‘A’ certificate? … So, even if I make a very simple film, chances are I might end up with an ‘A’ certificate. These ‘A’s and ‘U’s mean a damn to me. I make a film and that is it. I cannot talk about other filmmakers, but this rule doesn’t stop me. If I want to make a film on a subject I have thought of, I will do it. Whether it gets an ‘A’ or a ‘U’, I’m least bothered. I’m not interested in its rating. I have my own code of conduct and I stick to that. was given an by the . According to Anand Mathew of , this was done so because of Smitha who “saunters into the film now and then striking inspired poses with Kamal.” When the film was screened to distributors at AVM Mena Hall, they were not happy about the film; however one distributor remarked that the film affected him emotionally, giving confidence to the filmmakers. The film was released on 19 February 1982, in 45 theatres in the state of . Due to Haasan’s popularity, the crowd came in during the first day of the release; however since it was “a slow-moving film”, business on the second day was “only OK. The third day was better. Monday was also just OK”. The later picked up due to positive word-of-mouth, it became a ” in many centres” and ran for more than a year in Subam theatre in Madras. According to Sathya Jyothi Films, received its highest distributor share in Madras and Coimbatore. The film was also screened at FILCA, a film festival held at Thiruvananthapuram in September 2014. was dubbed into under the title . The film was remade in as (1983), with Mahendra again directing while Haasan, Sridevi and Smitha reprised their roles. received critical acclaim. , in its original review of the film, dated 7 March 1982, praised the performances of Haasan and Sridevi, Ilaiyaraaja’s background score and songs and the photography by Balu Mahendra, and gave the film 53 marks out of 100. critic wrote that in , Mahendra “does not narrate a story in the traditional sense of the term. What embellish the film are not incidents or characters as they are commonly understood. He presents a whole fascinating array of vignetes and couches them in such endearing cinematic terms that it turns out to be a significant achievement not only for himself but also for the ethos he represents.” appreciated as a rare film where the lead actress was able to outshine Haasan in acting. The critic also liked the way the story of the Blue Jackal was incorporated into the screenplay, appreciated Mahendra’s cinematography, and concluded that the film was as perfect as a . praised the acting of Sridevi and gave an impression of the film being completely her film and praised Kamal’s acting and his co-operation to let Sridevi shine. The critic also praised Mahendra’s cinematography capturing Ooty beautifully. The magazine gave a less favourable review, calling the film “a neon moon” and said, “There was at one time a brooding, premonitory quality about Balu Mahendra’s movies … but (he) has now gone into the trade of picture postcards and .” After a brief word of praise for Haasan’s performance in the climax (“darkly luminescent, like a rain drenched monsoon night”) the reviewer added, “Kamal makes a very amusing monkey, but should he not rather be playing a human character?” According to Thyagarajan, Sridevi was a strong contender for the , but lost to because of politics: “The makers of had lobbied for Shabana Azmi to make her win. By the time we got to know this, it was too late”. attained in Tamil cinema for its “unique amalgamation of high emotional quotient and film-making style”. The climax scene where Haasan’s character, Cheenu, runs after Sridevi’s character, Bhagyalakshmi, who has recovered her memory but forgets the incidents that occur between her accident and recovery completely, and Cheenu trying desperately to make Bhagyalakshmi remember the time she spent with him, to no effect, became popular and was parodied many times. The dialogue told by Smitha’s character to Cheenu, “You haave a verrry strrong physique, you know”, also attained popularity. A. P. Thiruvadi, in his obituary of Balu Mahendra, called him “The of Indian cinema”. When S. Shiva Kumar of suggested to Balu Mahendra that the film’s ending lacked logic, Mahendra said, “Believe me there’s no logic in life.” In November 2004, critics compared the plot of the Kannada film to . In March 2005, , in an interview with Rediff, listed among her favourite films. In July 2007, S. R. Ashok Kumar of asked eight Tamil film directors to list their all-time favourite Tamil films; two of them – Mani Ratnam and – named . In September 2009, singer , in an interview with , said that her favourite song is “Kanne Kalaimane”. In February 2010, director , in an interview with , called as his favourite film. In February 2015, topped Indumathy Sukanya of ‘ list of “Top 5 Tamil Romances”. Baradwaj Rangan opined that the film was “a superb example of how the presence of a commercially viable plot and the participation of commercially viable actors and technicians can result in art.” In July 2011, said she considered a role like Sridevi’s character, Bhagyalakshmi, as “really challenging.” In March 2013, S. Shiva Kumar of compared the climax of (1999) to the climax in . In November 2013, S. Saraswathi of Rediff included in her list of the “10 best Films of Kamal Haasan”. In February 2014, said she “would love to play a role like Sridevi’s in “. Sridevi’s performance in the film was included in s 2015 list, “Sridevi: 5 times the actress bowled us with her performance”. Although no print of has survived, the film is still available on home video. Balki mentioned in an April 2016 interview with , that “tremendously influenced” him as a filmmaker. Writer stated that he got the idea to write the story of the Telugu film (2003) while watching . Balu Mahendra’s Telugu film (1982) was dubbed and released in Tamil as . In (2001), Valayapathi ( ) pretends to have lost both his hands. His lover then promises to take care of him. The song “Kanne Kalaimane” is heard as the background music for the scene. In a comedy scene from (2002), Mohan (Vivek) imitates Haasan’s mannerisms from the climax scene in to make his friend Shiva ( ) recognise him but fails. Mahendra described his 2003 directorial venture as an inverse of as it was about “a mad woman who has a normal man in her house”. Malathi Rangarajan, in her review of (2011) said, “Probably because the scene of action is Ooty, the main character is mentally challenged, and the story-telling sequence with and the kid is familiar, at times [ ] reminds you of Balu Mahendra’s inimitable .” Baradwaj Rangan compares a scene in (2012), where Barfi ( ) goes after Shruti ( ) and stumbles, to that of s climax scene. In the 2023 film , when the main character, Parthiban, adopts a , he names it “Subramani” a homage to the dog that Sridevi’s character holds in the film.</p>