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madhuraman
Joined: 11 Jun 2007 Posts: 1226 Location: navimumbai
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Posted: Mon Mar 16, 2015 6:07 am Post subject: ALOYSIUS VINCENT-VI |
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ALOYSIUS VINCENT –VI
As I had mentioned earlier, Vincent and Sundaram had been working in unison and this pair migrated out of Venus pictures in 1960, when Sridhar launched his movie banner Chitralaya, soon after his phenomenal success as Director in ‘Kalyanaparisu’. Still, the TF empire was in the era of B&W and Vincent repeated his innovative approach. The water-skating in ‘Thane nilavu’ was a fist of its kind in TF and the racing camera keeping pace with the skaters in the song ‘Oho endhan Baby’ was indeed ahead of times. Came ‘SumaithAngi’ where camera work stood out in the song sequences- ‘Mayakka kalakkama’ and ‘manidhan enbavan’.
‘manidhan enbavan’ was a stand out for its ‘true’ representation. Yes, the slow responsive nature of B&W film material is a strong disincentive for night shots. The then trend in cinematography for such situations was to use deep blue filters and shoot in day light to simulate night effect through dark sky and subdued highlights; the same effect in Colour was achieved through use of ND filters of higher rating say 8 or so [Neutral density filters] to artificially deepen the shadows and pale down all the colours. But, Vincent had straight away shot at night in the least required light and achieved ‘absolute’ reality much like Hollywood Cinematographers. The innumerable foot prints in the sands of Marina and the only white surfing fringes of night waves from the sea speak volumes of effort in capturing the mood at night.
Vincent’s unique work style in ‘nenjam marappadhillai’ also deserves the same adoration as the movie’s name and the title song. The core theme was recalling of events in the previous birth of the immortal love [ immortal as conceived by the screen play]; necessarily, the movie was a subject for thrill and suspense; Cinematographers settle for ‘contrasty’ lighting to enhance the element of fear in the viewers. But, A V chose to use very soft lighting and only on 2 frames, he has availed of contrast to show a ‘shaken Kalyana kumar’ as he visits his mansion of previous life. Fear elements were elevated by subdued lighting and camera movements brilliantly complemented by MSV’s re-recording which for best part was silent except for an abrupt screatch when a disturbed bat flies off across the bewildered hero’s view. SIMPLY Vincent broke the mundane lighting rule or style to fortify fear or suspense.
More to follow K.Raman Madurai _________________ Prof. K. Raman
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