RAJEEV A. RAO writes from Bangalore: After watching Gaalipata, I had mentioned that Yogaraj Bhat had a challenge upfront for his next venture—“to take the road not taken, to tread on uncharted territory and to significantly exceed expectations”.
22 months later, it gives me great pleasure to report that Bhat scores a neat hat-trick with Manasaare. It has all the elements from his earlier celluloid successes while at the same time being a refreshingly fresh movie —a “statement movie” in the garb of a love story.
The whole storyline has been woven to make one statement: don’t worry about this world, this world is a huchchara santhe (mad world). Starting with that surmise, Bhat builds up his pieces to make a bold/ unconventional film that might, however, leave many viewers (and reviewers) wondering.
Comparisons may be odious, even inevitable, if a director is following up on Mungaaru Male and Gaalipata. But Bhat makes sure that such comparisons are also redundant.
One could say that the film has an even thinner storyline compared to his earlier two films. He has let go of his favorite actors (Ganesh, Anant Nag), his favourite animals (the rabbit and the pig), and his favourite element (the rain.) Instead, he relies on a stronger script (newcomer Pawan Kumar) and witty dialogues bordering on the ironical as main spine of the movie.
Lilting music by Mano Murthy that grows upon you, impeccable photography by Sathya Hegde and the word wizardry of Jayant Kaikini and Bhat himself complement this unusual fare.
Faith in a fairly new cast (at least for a commercial film) has paid off. While Digant and Aindrita Ray prove to be a candy-floss on-screen couple (with fairly creditable performance to boot by each), Raju Thaalikoti steals the show with his Dhaarawaadi dialect and dialogue delivery: gems like “temporary huchcharu oLage and permanent huchcharu Horage” (temporary mad men inside, permanent mad men outside) abound.
The technical crew has delivered a top-notch performance—the picturisation of the song “Naa naguva modalene” sums up the crew’s performance, elevating the song to a visual treat. Bhat and team drive home the point that concept and script are the pillars of their movies, with a simple but brilliantly executed climax.
The reviewers are a flummoxed lot. The New Indian Express and DNA largely hail the movie. Deccan Herald hints cruelly at “inspirations” when there are none, and The Times of India childishly labels the movie “a romance”. Vijaya Karnataka has an honestly positive review at the same time wondering how reviewers can assign “stars” to such an unusual movie.
And like the reviewers, one would expect that the movie, given its concept and execution, would garner mixed feelings from its viewers. But, coming at a time when there is such a lack of fresh ideas and execution in Kannada filmdom, this is a movie to be watched by all and judged by each.
Bhattare, we are eagerly waiting for your next one.
ಮನಸಾರೆ ಚಿತ್ರ ನೋಡಿದೆ. ಕನ್ನಡದಲ್ಲಿ ಇಂತಹದೊಂದು ಫ್ರೆಶ್ ಕಥೆ, ಅಷ್ಟೇ ಸೊಗಸಾದ ನಿರೂಪಣೆ, ಆ ನಿರೂಪಣೆಗೆ ಸಕತ್ ಆಗಿ ಜೊತೆ ನೀಡಿರುವ ಸತ್ಯಾ ಹೆಗ್ಡೆ ಅವರ ಛಾಯಾಗ್ರಹಣ, ಮನೋ ಮೂರ್ತಿ ಅವರ 3 ಹಾಡುಗಳು, ಎಲ್ಲ ಸೇರಿ ತೆರೆಯ ಮೇಲೆ ಒಂದೊಳ್ಳೆ ಅಭಿರುಚಿಯ ಚಿತ್ರವನ್ನು ಕನ್ನಡಿಗರ ಮಡಿಲಿಗೆ ಹಾಕಿದ್ದಾರೆ ಯೋಗರಾಜ್ ಭಟ್ ಅವರು.
ಇಂತಹ ಒಂದೊಳ್ಳೆ ಸ್ವಮೇಕ್ ಕಥೆಯ ಮೂಲಕ, ಬರೀ ರಿಮೇಕ್, ಅಲ್ಲೊಂಚೂರು ಇಲ್ಲೊಂಚೂರು ಕದಿಯೋದು, ವೃತ್ತಿ ಪರತೆಯಿಲ್ಲದೇ ಕಿತ್ತೋಗಿರೊ ಸಿನೆಮಾ ಮಾಡಿ ಕನ್ನಡದ ಪ್ರೇಕ್ಷಕನನ್ನ ಚಿತ್ರ ಮಂದಿರದಿಂದ ದೂರ ಮಾಡ್ತಾ ಇದ್ದ ಕೆಲವು ಕನ್ನಡ ಚಿತ್ರೋದ್ಯಮಿಗಳಿಗೆ ಚಿತ್ರ ರಂಗದಲ್ಲಿ ಗೆಲುವಿಗೆ ಬೇಕಿರುವುದು ವೃತ್ತಿಪರತೆ, ಚಿತ್ರ ನಿರ್ಮಾಣದ ಬಗ್ಗೆ ಪ್ರೀತಿ, ಯಾವ ಚಿತ್ರ ರಂಗಕ್ಕೂ ಕಮ್ಮಿ ಇಲ್ಲದಂತೆ ಕನ್ನಡ ಸಿನೆಮಾವನ್ನು ಮಾಡಿ ತೋರಿಸಬಹುದು ಅನ್ನುವ ಸ್ವಾಭಿಮಾನ ಅನ್ನುವ ಸಂದೇಶವನ್ನು ಯೋಗಿ ಸರಿಯಾಗಿ ಕಳಿಸಿದ್ದಾರೆ !
ಚಿತ್ರದ ವಿಶೇಷತೆಗಳು
1. ಸತ್ಯಾ ಹೆಗ್ಡೆ ಅವರ ಛಾಯಾಗ್ರಹಣ. ಅಂಬಾರಿ, ಇಂತಿ ನಿನ್ನ ಪ್ರೀತಿಯ ನಂತರ ಸತ್ಯಾ ಅವರ ಕ್ಯಾಮರಾ ಕೈ ಚಳಕ ಇಲ್ಲಿ ಎದ್ದು ಕಾಣುತ್ತೆ. “ಎಲ್ಲೋ ಮಳೆಯಾಗಿದೆ ಎಂದು ತಂಗಾಳಿಯು ಹೇಳುತಿದೆ”, ” ನಾ ನಗುವ ಮೊದಲೇನೇ” ಹಾಡುಗಳ ಒಂದೊಂದು ಫ್ರೇಮ್ ಅಲ್ಲೂ ಅವರ ಪ್ರತಿಭೆ ಎದ್ದು ಕಾಣುತ್ತೆ
2. ಅಯ್ಯೋ ಬಿಡಪ್ಪ ಮನೋ ಮೂರ್ತಿಯವರ ಸಂಗೀತದಲ್ಲಿ ಹೊಸತೆನಿಲ್ಲ, ಅದೇ ರಾಗ, ಅದೇ ಟ್ಯೂನ್ ಅನ್ನೋ ಆಪಾದನೆಯನ್ನು ಹೋಗಲಾಡಿಸುವಂತೆ, “ಎಲ್ಲೋ ಮಳೆಯಾಗಿದೆ ಎಂದು ತಂಗಾಳಿಯು ಹೇಳುತಿದೆ”, ” ನಾ ನಗುವ ಮೊದಲೇನೇ” ಹಾಡುಗಳು ಬಂದಿವೆ. ಚಿತ್ರ ಮಂದಿರದಿಂದ ಆಚೆ ಬಂದ ಮೇಲೆ ಈ ಹಾಡುಗಳನ್ನು ಪದೇ ಪದೇ ಗುನುಗುವಂತಾಗದಿದ್ದರೆ ಹೇಳಿ. ಮುಂಗಾರು ಮಳೆ, ಮಿಲನದ ನಂತರ ಮನೋ ಅವರ ಬೆಸ್ಟ್ ಕಂಪೋಸಿಶನ್ಸ್ ಈ ಚಿತ್ರದಲ್ಲಿವೆ.
3. ನಾಯಕ-ನಾಯಕಿ ಪಾತ್ರದಲ್ಲಿ ಕಾಣಿಸಿಕೊಂಡ ದಿಗಂತ್-ಐಂದ್ರಿತಾ ಜೋಡಿ ಭಟ್ಟರ ಆಯ್ಕೆಯನ್ನು ಸಮರ್ಥಿಸುವಂತೆ ನಟಿಸಿದ್ದಾರೆ. ದಿಗಂತ್ ಸೊಲೊ ಹೀರೊ ಆಗಿ ಗೆದ್ದಿದ್ದಾರೆ ಎಂದೇ ಹೇಳಬಹುದು. ಇಂಟರವಲ್ ಆದ ಮೇಲೆ, ಅವರ ಕೆಲವು ಡಯಲಾಗ್ ಗಳಲ್ಲಿ ಮುಂಗಾರು ಮಳೆ ವಾಸನೆ ಬಡಿದರೂ ಅದು Enjoyable !. ಇನ್ನೂ ಐಂದ್ರಿತಾ ” ನೀವು ಮೋಸ ಮಾಡಲ್ಲಾ ತಾನೇ? ” ಅನ್ನೋ ದೃಶ್ಯದಲ್ಲಿ ನಿಮ್ಮ ಮನಸ್ಸಿಗೆ ಹತ್ರ ಆಗ್ತಾಳೆ :) ಇಂಟರವಲ್ ಆದ ಮೇಲಿನ ಭಾಗ ಒಂಚೂರು ಸ್ಲೋ, ಆದ್ರೆ ನಿಮಗೆ ಹಾಗನ್ನಿಸುವ ಮುನ್ನವೇ ಭಟ್ರ ಕಥೆಗೊಂದು ಟ್ವಿಸ್ಟ್ ಕೊಟ್ಟು ಬಿಡ್ತಾರೆ ಅನ್ನೋದು ವಿಶೇಷ.
4. ಈ ಚಿತ್ರದ ಎಲ್ಲಕ್ಕಿಂತ ದೊಡ್ಡ ವಿಶೇಷ ಅಂದರೆ, ಶಂಕರಪ್ಪ ಪಾತ್ರದಲ್ಲಿ ಅಭಿನಯಿಸಿರುವ ಬಾಗಲಕೋಟೆಯ ರಾಜು ತಾಳಿಕೋಟಿ. ಕಲಿಯುಗದ ಕುಡುಕ ಅನ್ನೋ ಹಾಸ್ಯ ನಾಟಕದ ಕ್ಯಾಸೆಟ್ ಮೂಲಕ ಉತ್ತರ ಕರ್ನಾಟಕದ ತುಂಬೆಲ್ಲ ಖ್ಯಾತಿ ಪಡೆದ ಈ ಕಲಾವಿದನನ್ನು ಭಟ್ಟರು ಬಳಸಿದ ಪರಿ ಸಕತ್ !! ಅಚ್ಚ ಧಾರವಾಡ ಕನ್ನಡದಲ್ಲಿ ಇವರು ನೀಡುವ ನಗೆ ಗುಳಿಗೆಗೆ ಚಿತ್ರ ಮಂದಿರದಲ್ಲಿದ್ದ ಎಲ್ಲರೂ ಹೊಟ್ಟೆ ಹುಣ್ಣಾಗುವಂತೆ ನಗುತ್ತಿದ್ದರು. ಅವನೌನ್, ಅವರ timing, ಅವರ body language, ಅವರ ಡಯಲಾಗ್ ನಡು ಟಾಯ್ಮ್ ಹೋಗಿದ್ದೇ ಗೊತ್ತಾಗಲಿಲ್ಲ ನೋಡ್ರಿ .. :)
5. ಉತ್ತರ ಕರ್ನಾಟಕ ಭಾಗದಲ್ಲಿನ ಕನ್ನಡವನ್ನು ಚಿತ್ರದ ಮೂಲಕ ಇಡೀ ನಾಡಿಗೆ ಪರಿಚಯಿಸುವ ಭಟ್ಟರ ಪ್ರಯತ್ನ ಹೊಗಳಿಕೆಗೆ ಅರ್ಹವಾದದ್ದು. ನಮ್ಮ ನೆಲದ ಚಿತ್ರಗಳಲ್ಲಿ ಕರ್ನಾಟಕದ ಕನ್ನಡದ ಎಲ್ಲ ಸೊಗಡುಗಳ ಬಳಕೆಯೂ ಆಗಬೇಕು, ಆ ಮೂಲಕ ಎಲ್ಲರ ಕನ್ನಡದ ಪರಿಚಯವೂ ನಾಡಿನ ಎಲ್ಲ ಕನ್ನಡಿಗರಿಗೂ ಆಗಬೇಕು. ರಾಷ್ಟ್ರ ಪ್ರಶಸ್ತಿ ವಿಜೇತ ಗುಲಾಬಿ ಟಾಕೀಸ್ ಚಿತ್ರದಲ್ಲಿ ಕುಂದಾಪುರ ಕನ್ನಡದ ಬಳಕೆಯೂ ಹೊಗಳಿಕೆಗೆ ಪಾತ್ರವಾದದ್ದು . ನಾಡಿನ ಎಲ್ಲ ಜನರ ಆಡು ಭಾಷೆಯನ್ನು ಸಿನೆಮಾ ಮೂಲಕ ಎಲ್ಲರಿಗೂ ಪರಿಚಯಿಸುವುದು ನಾಡಿಗರ ನಡುವೆ ಒಗ್ಗಟ್ಟು ಹೆಚ್ಚಲು ಸಹಕಾರಿ ಎನ್ನುವುದು ನನ್ನ ಅನಿಸಿಕೆ.
ಇನ್ನೂ, captain of the ship, ಯೋಗರಾಜ್ ಭಟ್ ಅವರ ಬಗ್ಗೆ ಏನ್ ಹೇಳಲಿ. ಗಾಳಿಪಟದಲ್ಲಿ, ಸ್ವಲ್ಪ ಮಟ್ಟಿಗೆ ಮುಂಗಾರುಮಳೆಯ ಹ್ಯಾಂಗ್ ಒವರ್ ಇತ್ತು. ತಮ್ಮ ಹಿಂದಿನ ಎರಡು ಚಿತ್ರಗಳಿಗಿಂತ ಭಿನ್ನವಾಗಿ, ಹುಚ್ಚಾಸ್ಪತ್ರೆಯಲ್ಲೇ ಹೆಚ್ಚು ಕಮ್ಮಿ ನಡೆಯುವ ಒಂದು ಚಿತ್ರದಲ್ಲಿ ಎಲ್ಲೂ ಹದ ತಪ್ಪದಂತೆ, ಥಿಯೇಟರ್ ನಲ್ಲಿ ಕುಳಿತಿರೋರು ಬೋರಾಗಿ ವಾಚ್ ನೋಡದಂತೆ ಕಟ್ಟಿ ಕೂಡಿಸುವುದ್ರಲ್ಲಿ ಭಟ್ಟರು ಯಶಸ್ವಿಯಾಗಿದ್ದಾರೆ. ಆ ಮೂಲಕ ಭಟ್ಟರ success fluke ಅಲ್ಲ ಅನ್ನುವುದನ್ನ ಸಾಬೀತು ಮಾಡಿದ್ದಾರೆ.
ಇನ್ನೇನ್ ಯೋಚನೆ ಮಾಡ್ತಾ ಇದ್ದಿರಾ? ಮನೆ ಮಂದಿಯನ್ನೆಲ್ಲ ಕರ್ಕೊಂಡು ಹೋಗಿ ಚಿತ್ರಮಂದಿರದಲ್ಲಿ ಮನಸಾರೆ ಚಿತ್ರವನ್ನು ಮನಸಾರೆ ಆನಂದಿಸಿ. ನಮ್ಮತನ ಹೊಂದಿರುವ ಒಂದೊಳ್ಳೆ ಚಿತ್ರವನ್ನು ಬೆನ್ನು ತಟ್ಟಿ, ಸೋಲಿನಿಂದ ಕಂಗೆಟ್ಟಿರುವ ಕನ್ನಡ ಚಿತ್ರ ರಂಗಕ್ಕೆ ಹೊಸ ಉಸಿರು ತುಂಬೋ ಕೆಲಸ ಮಾಡಿ.
Yograj Bhat rocks!!!
Manasaare rocks!!!
KFI roCKING!!!!
i actually like gaaLipata more than mungaaru maLe.
yograj bhat is a student of kannada and it shows in his writing. imho, he has an awesome ear for the spoken language. and, his poems are not bad either.
onde samane is a case in point:
ok this was one of my first edits ever. it looks a bit choppy now as if cut with a gargasa. but i think the story come out nevertheless.
the movie is very good… its an unusual movie for the kannada movie goers who may be fed up by the same old formula movies having a love story in college campus plus rowdy elements etc.
The movie is creating a trend of Generation Next MAD people. for an example, have a look at the posts here:
http://www.gandhadagudi.com/forum/viewtopic.php?f=1&t=3771&start=1140#p153981
Why we like bhat?
1. Though he belongs to generation of 1990, he represents the present generation in the most nearest possible way in our Kannada industry.
2. There is an urge in every person to be a careless and enjoy the life without thinking much about it. Watch the climax where the heroine says that she doesnt know where she’s moving to. The hero character Manohar is an example.
3. Bhat explains love in the most usual manner how it is felt by an average person of today’s generation.
4. His dialogues are almost almost nearer to the way we speak.
5. Bhat can tell a joke which may seem non-veg in a manner where you’ll accept its pure VEGETARIAN! For example, the elephant rape joke in Mungaru Male. The scene in Manasaare where Digant says: “nim appa chikkadralli chocolate koDisilla anta sik sikk huDugarigella chaaku haakteeralla… nam amma nange cheddi ne haakde bELsiddaare… naan yEn maaDbEk hELi?” …
There are many other things why we like bhat… for the brilliant soul touching music and lyrics.. the camera work.. Bhat is a treasure for Kannada commercial movies.
The movie is now creating ripples in the youths. The signals of a successful movie are that the people start imitating and adapting the elements of the movie in their real life… for example – the costumes of the movie, the dialogues of the movie become style statement of the youths. This alone is the proof of the success of a movie. In time being, these elements become a part of the society… these elements find a place in the life of the people and become a part of the culture. This movie is on its way in becoming a part of people’s life.
Enjoy the movie.. It will make you go half mad*
* – conditions apply. if you have good taste and like this type of cinema and watch it with an open heart. And you need to watch it minimum 3 times. And you need to understand the north karnataka dialogues by Raju Thalikote.
Thanks Rajeev- finally Churumuri found something about kannada movies to post. The periodic hogwash like “this Kaat(katpadi) movie is better than that Golt movie” was getting my goat. Thanks once again.
We need to see how long Gandhinagar will allow Bhat to give out hits like this. If past history is anything to go by and seeing what happened to talented directors like S K Desai, P Vishwanath, not very long I guess. Bhat better maintain good relations with the numero uno family to be on the safer side.
Yogaraj Bhat’s biggest achievement must be making Kannada songs listenable again.
TEN POINTS ABOUT MANASARE
Manasare is contrived, loud and silly with a story line as strong as a chicken’s legs.
1. Raju Thalikote comes out with a few gems, but too much of Thalikote gives thalenove. Why does he have to deliver his lines in such a haste? Doesn’t Mr. Bhat realise that lines pack a better punch, when delivered in a slightly more easier, casual, relaxed way?
2. I can’t imagine any man falling for a mental lady in a mental hospital. And that too, when the first sight of the lady is a contorted face. Our heroine has apparently stuck a knife in a man’s throat and her face has become twisted. it is this twisted face that our hero likes, inspite of knowign she is a mental case. Terribly contrived. I agree films can’t be real. But it can’t be dumb at the same time.
3. Of course the film has many witty one liners. But WITTY ONE LINERS DO NOT MAKE A FILM. and that too a barrage of one liners makes the film one dimensional. it is like watching the humour shows on TV, where one person spews out one liner after one liner.
4. Yograj Bhat is no pathbreaker. he resorts to tiresome song and dance sequences out of nowhere. dream songs, love songs, the same crap. as predictable as nail growing every day.
5. All the heroine does right through the film is sob and sob and stick knives in men’s throat. How interesting can such a character be?
6. Why does Mr. Bhat have to make his heroes mouth unending monologues? Ganesh did that long monologue at the lakeside in Mungaru Male,and here Diganth does a similar kind of monotonous monologue amdist haystack. Yograj’s kind of film making is too predictable. No variety in here. Isn’t the hallmark of a great filmaker.
7.The flashback scenes which shows the heroine’s childhood is so yaaaaaaaawn. how many times have we seen our protagonists becoming what they have become because of nasty childhood experiences? And the way it has been executed is so cliched.
8. Yes, the story does seem to have a message – that the world is actually pseudo, and we pretend to be ‘normal’ when all we are doing is hiding our real feelings and emotions, walking around with a false smile. It is us, who are really mad, while the mad people in mental hospitals are normal, because they don’t know how to hide their emotions. But they way this thin message has been executed as a full length feature film leaves a lot to be desired.
9. The climax , which shows people laughing at Diganth and pointing fingers at him is too too lengthy and can get on your nerves.
10. All in all, avoidable. Totally.
Mr.Simple – Please direct a path breaking movie instead of doing so much analysis of Bhat
LS
sari biDi. nimma comment noDi simple avaru directionge iLithaare.
YB rocks! DH reviewers can take a walk for calling this masterpiece an “inspiration”
That would be a good thing, Looking at the minute analysis Simple sir has carried out , I am sure simple will direct a movie as good as Manasare from my view
@LS
I assume all movie critics should give up their jobs and start making “path breaking” movies.
I haven’t seen Mansaare yet, but having seen Gaalipata, I would have to agree with some of the points Simple has made.
Simpletonji !!
Please tell us what movies were original and inspiring to you. Obviously you are on a different cultural planet than the rest of us. Instances such as ‘avoiding mom’s “alugadde palya” at home in favor of ‘steaks’ to be had in Dubai make you very esoteric and hard to follow…
i agree with Simple, saw snatches of Gaali…and MM, both were pretty predictable , but compared with our present set of ‘directors’ we tend to glorify whatever little spark that comes in our way ..aka, not a remake is a thing to be celebrated …
btw, am viewing ‘Minchina oota’ as I am commenting …
Yogaraja Reel suttutArE. Simple Reel biDaTAre. Two side of the same reel I say.
Doddi Buddi
I am from the same cultural space that you come from.
I loved mungaru male songs.
I loved most of girish kasarvalli movies.
i love arundhati nag as an actress.
i loved puttana kanagal as a director.
i love shishunala sharif songs.
I love old kannada film songs.
i love anath nag as an actor.
i love my mom’s bisibele baath.
i love kosumbri.
i love kannada.
i love mysore.
i love dharward dialect.
i love jolada rotti.
i love plenty of contemporary kannda film songs.
i loved shankar nag’s malgudi days.
till today it gives me goosebumps.
i love girish karnard as a creative person.
And i love so many things about kannada and kannadigas and our culture.
Just because i did not like Manasaare, or just because i did not like my mom’s alugadde palya, does not mean i am from a different planet.
How quite plainly ridiculous of you.
Vinay, why dont yu write a review of Minchina Ota – have heard so much about it but havent had the fortune to se it- heard Loknath is simply magnificent in the movie- can you- will you?
Gaby,
You can watch Michina Ota online at videogirmit.com.
Hope this helps and may be you can write a review for us after watching it ;)
@Gaby, will attempt to …
Simpleji,
Thanks. Glad to know you are with us:)
“i love my mom’s bisibele baath”
heeyyyy kaLLa!
pinochio, pinochio!!!
Pharoah- Thanks.
Vinay Look forward to your attempt.
Simple- I’ve never known anyone like home made bisibelebaath- that too when there are so many wonderful darshinis to eat BBB.
Simple!
That’s an awesome list! I haven’t watched Manasare so can’s say anything abt it..but lemme add a few more things with ‘Kannadada sogadu’..
Belagavi Kunda
Kundapura chicken
Mysooru Mallige ( not the naughty one;)) and C Ashwath
TaRaSu novels
Poornachandra Tejaswi
Shankar Guru
Da Ra Bendre
Hampi
Shivaram Karanthara ‘Adbhuta Jagattu’
Chomana Dudi
T P Kailasam
G P Rajaratnam – Ratnan Padagalu
G R Vishwanath
Hmmm…we are quite rich I would say!
Simple,
Cant cure people’s narrow minded assumptions – DB’s, mine or even yours. Nice writeup though.
Simplejeee, just being curious- in your politically correct list of things you like you mention liking most of ksaravalli films- wondered which were the ones/ was the one you didnt like- dind’nt want to make assumptions you see!!!!
Anonymous
You are right. deep rooted biases are very difficult to plug out.
and thanks for whatever you said.
Doddi Buddi
I noticed you changed the way you addressed me from simpleton jee to simple jee……lol
Gaby.
I shall invite you to my home. please taste the compltely home made bisi bele baath. …i really mean it.
Vitlan
reel bitna naanu? hege antha gothaglilla . Swalpa educate maadtheera saar?
Gaby,
Maybe you didnt know anyone whose mother was a good cook (my assumption based on your statement – ‘never knew anyone…’).
AG smart guy- I said I never knew anyone who liked home- made BBB- never said a word about whether home made was well cooked or not- and why do you assume that cooking has to be assoiated with cooking!! To pull that hoary chestnut you know what assuming makes of u and me dont you?
Simple,
“I can’t imagine any man falling for a mental lady in a mental hospital. And that too, when the first sight of the lady is a contorted face…”
Love andre heege agabeku antha nimma thathano ajjino rule madidarenree, heege agabeku anno conventional rules na break maadidare namma bhattaru..
Nimage bahusha Karan johar nanthaha stereo type chithragale ista agabahudu athava nimage love vishayadalli anubhava illa ansuthe…
“1. Raju Thalikote comes out with a few gems, but too much of Thalikote gives thalenove. Why does he have to deliver his lines in such a haste? Doesn’t Mr. Bhat realise that lines pack a better punch, when delivered in a slightly more easier, casual, relaxed way?”
Dailaogues are exactly delivered in a way they naturally speak in uthara kannada, arhta madkolo capacity idre aste artha aguthe, nimmanthaha sloooow coachgalige arthavagada vishaya….
“The climax , which shows people laughing at Diganth and pointing fingers at him is too too lengthy and can get on your nerves.”
climax not at all lengthy and infact it has been done very correctly giving a good message.
The film makes you laugh and yella hadugalu chennagive,
Nimma review thumba biassed agidhe..
DONT BE MISLEAD BY FOOLS LIKE SIMPLE, WATCH THE MOVIE FOR YOURSELF AND DECIDE HOW WRONG SIMPLE IS…
i rate Manasare above “Mungaru Male” and “Galipata”. A story set in a rehabilitation center, it manages to hold the viewer’s interest through a very good screen play and lively dialouges…i didnt realize how time passed for 2 n 1/2 hrs…”manasare rocks”!!!
As rajeev has rightly said, “Bhatre , looking forward for your next movie too”
Was taken to manasAre today forcefully by my friends. I felt gAlipata was such a drag so was kinda hesitant but seriously manasAre is not as bad as some people are saying. I liked a kannada movie after quite sometime.
I seriously don’t have any complaints against Raju Thalikote. He was hilarious!! I dint have any problems in following his dialect or dialogues and believe me i am from proper bangalore. And love elli bEkAdru agabahudu i dont find it unimaginable.
But yes Diganth has been made to copy ganesh’s acting in mungAru maLe(He has done that properly at least :)). that is maybe one reason many dint like the movie but it definitely has a very good storyline. So maybe if u stop referring to mungAru maLe u can better appreciate the movie. I am sure people watching this movie without watching any of bhat’s prev movie will definitely like this.
Anyways one strange observation, yenoappa Bhat filmgaLalli herogaLella tumba jobless agirtare Adru khushiyAgi irtAre. hEge manage mAdtAro eno… :)
RS
No Saar, I am not into Karan Johar kind of films – which is syrupy sweet mushy and full of garrish songs and dances. Bhat films too are songs and dances with weak story lines. All this makes it a very predictable style of film making. .
If you have the time, watch Wake Up Sid, from a refreshing young director. This is what is called as Love Story. A unique and refreshing take on today’s youth. Nobody has ever done that in recent years, in my memory.
This is not a Karan Johar directed movie, but it is produced by him.
Simple LKB , I think you are a child. We are not discussing love stories here. It’s more of how love can cure conflicts- be it emotional or social.
A futuristic Digant is ahead of society.He is fearless and totally practical. He sees and lives what others cannot.
If you cannot think about the complexities of people in asylum due to deep emotional conflicts, then please stop commenting.
Two of the best scenes which reveal Kannada film power are
1.when Aindrita starts to laugh somewhere in middle.
2.when Digant turns from sorrow to enlightenment at climax.
There is a lot of difference between the maturity of subjects of YB than any Hindi movie which is bound to be some half baked remake of other. If at all Manasaare stops you from sitting and pressing the partner next to you, then it’s good you don’t watch and profess it. It’s fine that you might be earning enough and want refreshments at the end of the day with some mild subjects which would cater you to shag off in front of your boss , but when you comment on a well thought and well made movie start with some preparation. Don’t force yourself to comment.
It’s commendable that YB still deals with complexities with MM,Gaalipata and this movie along with the nativity. And I think he has achieved Hatrick in style. I adore Manasaare than other movies of his.
And to all who want to watch Manasaare please let yourself a day or two and then go with a fresh, free and open mind.2-3 times watching is definitely recommended from my side. I still enjoy going due to perfect balance of black humour.
I really don’t know why is it marketed like this with a few theatres. It really should have got released overseas.
Raja
So called ‘Mature’ people like you should not be calling me LKB, just because i dared to dislike manasaare. that shows how emotionally maladjusted you are.
You have not understood my point. Read what i have said in my earlier postings.
I have no problem with the messaging of the film. It is certainly well-intended. In fact, I am one of the people who has stood up against the society, when it was laughing at me. My philosophical take on life is exactly what Diganth says in the end, “yea, so what? let them laugh”
My problem is not with WHAT has been said, but HOW the WHAT has been executed.
My problem is with HOW The message has been filmed. Not with the message itself. Got it, Mr. Mature?
As far as i am concerned, the technique is too loud, (not at all subtle), too gimmicky and too cliched with ho hum songs and dances. Subtlity makes for fine art. Not loud monologues or eye jarring camera work in the end , when people laugh at Diganth.
And who are you to stop me from commenting? Isn’t a blog like Churumuri all about dissensions, discussions and debate.?
Am I supposed to like Manasaare just because pseduo-intelligent people like you adored it? Is this some cultural dictatorship? “like what i like or else don’t comment? hahaha
Simple,
LKB is metaphor of something like d***head and usually used to denote when one tries to defend dilemma/ or his brains doesn’t correspond to his feelings . Here you tried to defend yourself so many times. No harsh feelings.
Good , now you are into HOW of the film. Let me tell you
First of all, I am not as mature as character of Raju Talikote.
1. songs and music are excellently received (kannadaaudio.com-check out the comments for manasaare).It increased membership from 500+ to 1000 from the time these songs came out.
2. subtleness is fine. I just saw Kanchivaram – directed by Priyadarshan – one of directors I adore , I also like subtleness of Beladingala Baale, Dweepa, Gone With the Wind and Kanooru Heggadati, but somewhere when you touch urban subjects with youth can you avoid noise? I too wondered the area/locality which YB took for Digant’s portrayal to be too ordinary- the people looked so pathetic but is it not true when we visit many areas like that ? And that type of slums contribute most to asylums in my knowledge. Should we not allow such noises at all to allow for ceremonious creativity. I think the film’s victory lies there. It’s bringing the best music out of the noise like ‘A’ . There might be good ways of bringing it like Prahaar , but I think the difference of portraying indiscipline also lies here.
3. cultural dictatorship – I think that’s the need of the hour. Our own people think thrice before giving a comment on our own movies – why because we practice other’s democracy -we should admire others , appreciate other art ,talk in their language , make them friends and ultimately forget our own self -ultimate nirvana and moksha , fine at the end but somewhat disagreeable for those who want to realize themselves. This week whole team of Manasaare had to come and fight with Fun cinema multiplex to retain just two shows which were put of the 13+ screens . Just 2 shows…. The reason was someone called from Mumbai to put Do Knot Disturb. Do you understand subtlety of market here in namma own city who say Do not disturb to Rockline/Jayamala who are supposed to be presidents. Look , how weak we are. Recently I heard your own KJ apologising Raj Thackerey for using Bombay for Mumbai, and replacing it also in Wake Up Sid. I think that’s the need of the hour for our own good.
4. who is anyone to say to other like what I like. It’s completely useless.
I just was being critical to critics , like TOI (2.5) and rest with lame writeups like second half is slow etc – as if expecting a cabaret.
Raaja,
What a funny person you are. Squealing girls adore Zac Efron, small children adore cuddling their grandma and you say adore Priyadarshan and YB!!! You also go on to suggest that a rat like Raj Thakeray is the need of the hour and you round things up by actually seeing sublety in the brashness of Gone with the Wind !! Wow brother wow!
Gaby,
Thanks for calling me funny. Many people have this habit of calling me funny when they are at loss of words.
1. Priyadarshan and YB, Add Jim Carrey to that. I believe Humour is a higher science.
2.Raj Thackeray – a rat , Uddhav – a snake , and many more metaphors. Ok. but still rats are indeed necessary to break traps and shackles . You talk like NI in Mumbai, no offence from my side though.
3.Before anything about Gone with the Wind, let us be clear about meanings.
Subtle – So slight as to be difficult to detect or describe; elusive
Brash – Hasty and unthinking; impetuous.
Estimated 2/3 rds of UK saw it as their story and rest of world saw how they were gone with the wind.
We are dealing with HOW of film-making. Without taking the nicety and fine distinction of different characters from their young age till death -with rhett and scarlett, it becomes impossible to give out the brash-the WHAT of this epic .
Raaaja
if you make good films people will watch it. whatever the language.
Simple.
:) :)
when was the last time the great tassa-pussa people the great banglore brahmins aka wannabe boston brahmins discussed a kannada filim with such passion? YB has already made his point.
simpalore. there are holes in your filim theory through which entire armies can pass through simultaneously back and forth as many times as they wish. i would have thunk one would need a cannon to defend such a fort, but with a onake you are defending the fort, that too against rutheless janes. you go brother.
anyway aside. yograj bhat’s writing/cinema is primarily a celebration of spoken kannada. i enjoy them for that.
***
so how are dialogues in this one?
like in MM, heros mom cats back her hubby, enaaythu anta ishT sound-O? 99.99% would have written enaaythu antha ishT sound-u.
tsubba
you say, “yograj bhat’s writing is primarily a celebration of spoken kannada.”
yes, i agree to that.
Ganesh’s dialogus in Mungaru Male was exactly that. Earthy. Rooted in kanada colloquialism. Which ever love-torn young man could easily relate to.
But as i keep saying dialogues alone do not make a film.
Should every kannada film have songs and dances at the first instance the hero falls in love with the heroine? Should the hero and heroine break into a song and dance every fifteen minutes?
It is so well yaaaaaaaaaawn. The songs may be lyrical and sweet, but thats credit to Mano Murthy. But the picture-isation of the songs are so drab.
There are no genres in kannada (or for that matter Indian ) movies.
The only genre is musical. Yograj Bhat’s films are also musical
Every kannda (or any other indian move) is a musical. Its a musical thriller. or a musical comedy. or a musical horror movie. or a musical sentimental drama. or a musical gangster film. or a musical romanctic movie. or a musical action.
How ingenious can that be?
Films can’t have a formula. but that’s exactly what yograj bhat’s films are about. Formulaic> here is his formula:
1. Ensure the music is lilting.
2. Ensure the hero speaks long colloquial monologues.
3. Ensure the hero is always chasing his lover.
4. Ensure that the story line is weak
5. Ensure that the landscape is spectacular
6. Ensure that it is yet another love story.
Whether gali pata or mungaru male or mansaaare, all are love stories.
ALl the three are musical love stories.
How can a director be so boringly unidimensional?
9 out of 10 movies are love stories. Aren’t there any themes other than love stories?
Simple,
I see that you like the film “Wake UP SID”, called it refreshing also..
there have been enough movies in Kannada with simillar story line, rich brat learning the truth of life after being deprived of his money…
Recent one being Puneeth starrer “Arasu”
Nimmantha mandeena nodi ne gaade helirabeku “Hithala gida madhalla” ,
Now that i can sense your psyche, i can bet that you would like the movie if “Manasaare” is remade in Hindi and shot in foriegn locales instead of some local places….
RS
You suffer from a deep inferiority complex.
I never like the same routine crap EVEN In hindi films. From Dilwale Dulhaniya Le Jayenge to Kuch Kuch Hota hey to Maine Pyar Kiya to Hum Aapke Hain Kaun, I find them all as crappy as manasaare.
At the same time, i have loved plenty of kannada films from Ranganayaki to Nayiya Neralu to Ganeshana Maduve.
“wake up sid” is a love story no doubt, but it has been treated realistically.
Look at the difference! How very real the movie is. No loud monologues, no goofy running around trees, no outlandish costumes, no screeching dialogues, facing the camera.
Wake up Sid is a slice of urban Mumbai life. Portrays it exactly like the way it is without resorting to cliched hyperbole in plot, in dialogue delivery, in costumes, in virtually everything.
The thing that gets to me is melodrama!
Simple ,
To you – love/life is boring and unidimensional. It does happen.
As per my knowledge nobody said Manasaare being a love story – but broadly everything can be love story since broadest love is life.
I am sorry if some girl/boy has given you kai or kaal and you are not finding any end , still I recommend you to rethink Manasaare about broader love , atleast you can walk at the end.
Got the story of the movie:
The story is about Mahendra, who is jilted by his lover in favour of a rich software engineer. A frustrated Mahendra, who is always looked down by his uncle’s family, goes out with a friend for a booze party. While walking on the road, he is mistakenly captured by the security staff of a rehabilitation centre for the mentally challenged. And the doctors even create fresh records to prove that Mahendra is suffering from a mental disorder.
One day, Mahendra meets Devaki, a patient in the hospital, and falls for her. He escapes with Devaki in a hospital vehicle and spends three-four days with her in an isolated place. Love blossoms and Devaki narrates her tragic flashback to Mahendra. She also forces him to take her back to hospital.
Meanwhile, Mahendra is released from the hospital after the actual missing patient is found. But Devaki thinks he lied to her though she later realises his true love and they move ahead in life.
Wow, how different! Boy falling for a girl, singing and dancing all over world, yet never do they even smooch. Finally boy marries girl and everyone happy. Haven’t heard of such a unique movie before.
It would probably have been a “different movie” if it was the 2nd movie made in India.
Agree with you RS . Wake Up SID story is chow chow bath of all old movies .At least Manasare screenplay is refreshing . If YB is now just into love stories , that’s where the success lies . How many watched “Mani” in theater? I also agree that may be there are some similarities in YB”s last 3 movies but not to the way Simple is dragging it .With all that similar elements all movies were refreshing. I can list 20 common elements for Wake up SID too , lol . Any way that’s not I am interested in . If Kannada music is in such a good state and if now today in Bangalore cab’s/bus outsiders sit quite when kannada fm’s are running its because of MM, YB & Mano. MM revived the music trend and director too should have an ear for good music . Anyway looking at simple’s complicated reviews I am just hoping simple is not an industry man hating YB . Good luck simple
Raajanna,
In the first place I was wondering about your using the word’ adore’ and not the articles of your adoration.
Raj Thackeray ad all his ilk are rats who flee at the irst sign of any serious foe and roar only at the pussilanimous Karan Johars ( BTW havent seen a sillier movie than Wake up Sid).
Again you have me wondering why 2/3rds of the United Kingdom ( I suppose you wanted to say the US) saw Gone with the wind as their story- unless you are talking of a sitcopme about flatulence. The O’Hara-Butler saga( both novel and the star studded movie) on the other hand was a soppy tribute to a inhuman social system and depicts 12 years of sentimental mush. The only elusive thing in it was reality and the only good thing was Butler saying- ‘ Frankly my dear, I dont give a damn’ .
Gaby thamma,
Ok. adore=like. hope you don’t see ajji cuddling and girls squealing in this word.
Everyone is cautious because there is nothing great intelligence required to bomb and kill people. chikka putta makle UK airports alli bomb yesedu barthare. And due to it there is a lot of competition to fight within limits like Ganda-Hendthi jagala :-) .
I too like Bahubali kind of approach. Come on man kill me…… Be a man ….. You will get surely a MF Hussain if not chavundaraya :)
http://www.imdb.com/title/tt0031381/trivia – US is a new found land. The film deals with European nagareekathe ,when they were migrating to US just like Indians(now we can call them rats :-) ) are running nowadays.
It’s not about only Ohara and Butler if you are meticulous.
Ok the dialogue you quoted is popular .
What I see is the conservative, liberal ,radical, destructive , guerilla, backstabbing, love ,betrayal without losing touch of realities.
I call it subtle art of film making -entirely my view.
Even now people are discussing Manasaare because humour is still black and subtle. Hope they will crack it soon.
Rajanna it’s Gaby thangi. I wonder what you are on- I dont mean it in a anasty way- just curious- what are you on about?
simple,
I am not suffering from inferiority complex,
Look in to the mirror and you will find the person suffering from it…
Yes, i get the point now, who ever agrees you are broad minded and do not suffer any sort of complex?
Who ever tells anything that you do not like is narrow minded and suffer from a very deep biassed sentiment…
I wish not to continue this argument with you any further as i see that it is of no use.
any ways, i got to see the practicality of the saying :
“Hithala gida Madhalla”,
enjoy watching “wake up sid” as you like and continue to think it is a very originally done movie and be like a Koopa Mandooka…
Thank you…
Cool
never expected females to write to this level. Anyways glad to meet one.
I just answered your questions, parawise
adore
Raj
Uk 2/3rds (search for population in that link)
and overview of film to be subtle which I think you didn’t agree.
RS
YOu made a sweeping statement saying that if Manasaare was shot in HIndi, I would like it.
I thought it was spectacularly dumb.
I pointed out the unfariness of your statement by stating that i have disliked plenty of HIndi films and at the same time, i have loved lots of kannada films.
I am a movie lover and i love any language movie – kannada to spanish.
Don’t drag anythign else inot it.
Wow you are prejudiced to gender as well as to language! Does your wife touch your feet evry morning when she wakes up?
@Gaby
You are getting too personal and appalling by calling a humble soul like me as prejudiced. to language?? and what made you think like that?
Are you making sure if I am married? I choose not to disclose. :)
But we can make a negotiation here . We can exchange answers.
Does your husband touch your feet evry morning when he wakes up?
simplore, you are way too posh to be watching simple stuff meant for kids/young adults (bacchaguLu). inta filims noDod yaake, noDi beedili maaykayyi parchkoLod yaake ? your review is unfair because your estimate of good cinema is a hi-fi drama and/or a trivialized piece of writing.
you want nice nice things like depth, sensitivity etc etc. in your filims, but you wont accept the fact that cinema is necessarily shallow when it comes to such things. nor will you pursue your earning for depth earnestly by moving to books and poems. you want to be lazy and thick like me, but want your cinema to make you feel good about your perception of your sensitivity, perception of depth, intelligence etc etc.
i am not saying there is no depth to cinema, but the depth which cinema can actually capture, you have already dismissed that as pretentious. on the other hand, simple movies made for kids and young adults and old geezers like me, you flog them based on your desire for hifi-drama/trivialized-fiction.
is this fair?
Wow gaby,
Is your mother a bad cook?
Rajanna, didnt mean to be nasty but stung by your comment that you never expected ‘ females to write to this level’- hence the comment.
AG my mum was indeed a bad cook- but that gave all the family plenty of reason to eat out!!!
Quote from girish kaasarvalli …
I have always made films based on literary works in Kannada. My cinema has always been an exploration of LIFE IN VISUALS,” said Girish Kasaravalli.
all caps emphasis mine. ‘story’ and ‘sangsu’ from literary works aadru, gk sees his own work as an exploration of life in VISUALS. this is to say, jingchak of cinema, which is not available to drama, is what it is all about.
Visuals = jingchak of Indian movies? I don’t think that’s what Kasaravalli meant.
no. i am only pointing out that cinema is primarily about visual
jingchak. everything else that cinema adds on like story sangsu moralsu sensitivitiesu etc etc, is done better in some other medium. the primary aim of cinema is to take these other extras from other media and figure how to add a visual dimension to it.
in one of URA’s short stories, he builds up tension between two characters which ultimately ends in a terse : sambhogisibiTTa. anybody who reads that brief terse line can sense all the tension in the climax. if you are going to show all that on screen. how are you going to do it without jingchak, ha?
on the other hand, how do you write about the games ambika’s eyes and lips play with a person’s mind without actually using a moving camera? say we could get ambika to do this dance on stage, what i do if i only got a seat in the last row? will i be able to see all the details in all the angles that camera shows me? first time i saw this i saw this in gandhi class of tent in my village. then i saw again in balcony. made no difference other than creature comfort.
again my point is cinema is all about visual jingchak. everything else is extra.
***
i have posted this before. but please see this:
this is what masala movies are all about. nobody goes around like that. and never does sangsu capturing your innermost feeling play in the background like that. its all pure jingchak. only in cinema they can show that.
Tsubba
What you are telling is mere common sense.
Of course there must be a difference between story books and audio visual entertainment.
Otherwise, you can as well get the hero to read out a script in front of the camera.
YOU ARE SAYING NOTHING ORIGINAL.
I guess your choice of word is wrong.
Jingchak to me connotes shimmering gimmick.
What is your interpretaion of the word jingchak?
Cinemas need not have shimmering gimmicks, they must have an element of interesting visual rendition which is not available in scripts or novels.
The cinematic rendition STYLE need not be jingchak (shimmering gimmickry) all the time. The visual rendtion STYLE can be a hazaar ways:
1) Sophisticated
2) Subtle
3) Artistic
4) Slapstick
5) Loud
6) Intense
7) Profound
8) Shimmering gimmick or jingchak as you call it.
9) Realistic.
10) Etc.(which is another 100 points actually)
you are concentrating only on one STYLE of visual rendition. Point number eight. That is jingchak. THere are hazaaar other visual rendition styles apart from jinghcak.
aha! exactly. what i am saying is mere common sense. and thus not original. why would want to say something that defies common sense just to sound original? what is primary originality or common sense?
you please read what you have written and explain the terms to me. what is difference between sofisticated and subtle and artistic and profound and realistic and loud and slapstick. are you saying that sofisticated things cannot be profoundly subtle or loud slapstick is unrealistic realistic and so on… for example if bernard shaw were to say a sofisticated chutuka to chaplin and he breaks into rolling on the floor laffing but ends up slip on a banana and bang his head on a wall and seeing this bernard shaw himself breaks into lafter, it would be unartistic, unsophisticated …. ?
there is nothing simple about movies. reality doesnot manifest according to toLLu theoretic classes you describe. it just happens. trying to capture/reproduce it subtely/realistically is a highly sophisticated exercise and in cinema relies heavily on the jingchak afforded by a moving camera and the ability to pre and post process the visuals. in reality when i see a beggar on the street it does not move me. but by simply using camera on a jig and juxtaposing the images with a whole lot of other images you can evoke any kind of response in my mind. that is, what was not there initially was created by jingchak of a moving camera.
you cant make a cinema by putting a camera in the front seat of a drama. why?
tsubba,
agreed. cinema is visual jhingchak (visual=video+audio) . So what’s your problem?
An excerpt from HINDU
http://www.hindu.com/fr/2009/10/23/stories/2009102350940100.htm
Why does it seem that only Kannada filmmakers have to urge the public to watch their language film?
This has been there for a long time. When the intellectual quotient of the middle and upper classes is high they treat cinema with disdain. Cinema has not gained cultural importance here. Our writers have won seven Jnanpith awards. Another 11 deserve it. When you are intellectually strong melodrama, songs and fights seem like monkey tricks. This is not going to change. Only a couple of films in a year do well. Take Telugu for instance, where the lower middle class is very strong. About 12 heroes will enact similar roles in similar films and they’ll all succeed. What matters to them is that the heroes are different. They are fascinated by fantasy. That’s missing here. Kannadigas are reluctant moviegoers. Invariably you have to invite them. For example “Anisuthidhe” written by anyone other than Jayant would not have been such a crowd-puller. There were people who sniggered when I chose him. Our market is very complex. We have to forego our ego and entice them to the theatre.
Raaja,
Thanks for the link. The question “Why does it seem that only Kannada filmmakers have to urge the public to watch their language film?” was brilliantly answered by Yograj Bhat.
OOOOOOOOHHHHHHH…..!!! The movie is creating so much a strir ….so many posts……..marvellous ………i was fearing if kannada movies will escape from the “english medium” people…? Thank God.
Manasaare is making it footprint.
Nobody can deny that.
Bhatre……… I know you smoke too much..!
Never mind u will go to heaven…….take care of your health
One more award to this great movie. Yogaraj should concentrate on a Kannada English bilingual .