“Mauna Ragam” – A review 30 years late!

Couple of days back a friend who is equally a big fan like me of the ace director Maniratnam passed me a link of the film critic Baradwaj Rangan’s ode on Mani’s Mauna Ragam.  The piece titled “30 years of Mauna Ragam” flashed me back to 1986 when the film was released. That was during my 2nd year of Engineering when Mani Sir as he is revered now had not arrived though flashes of his brilliance could be seen in his 1st Tamil film Pagal Nilavu. Mauna Ragam had no mega star cast and got released silently without much fanfare. But then those days mega star cast or no star, we almost watched all movies which hit the theatres and contributed our bit to Kodambakkam. Since was not into writing then, didn’t write any review after watching Mauna Ragam. But we sliced and diced all films some times for days together which could have made for decent reviews. So today I am writing this piece as a review for that film Mauna Ragam, (recollecting from the many postmortem sessions we had in canteens, Railway station benches et al) Mani’s first full-fledged film (he wrote and directed) which announced to the world the arrival of a Director of class. With his next film Nayagan, Mani would go on to stamp his presence and influence on South Indian films forever.

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The narrative in the film was path breaking in many counts as far as Tamil cinema then was concerned.

  • As per me, this was the first film (at least of what I saw) which had a genuine feminist hero (Mohan) who was sensitive to the feelings of his counterpart (Revathi) almost throughout the film. Even when Revathi’s character was at her provocative best in what would seem as taunts at Mohan, he would still react in a calm, composed manner always respecting Revathi’s point of view. He takes all her requests seriously and tries to comply (including going ahead with the divorce) without trying to put forth his point of view.  In a moment of what I call that “directorial touch”, Mohan opens the rear door of his car for Revathi when they come out of the advocate’s office after filing for divorce. One could argue that even MGR was an eternal feminist in his films. But then that was of the Thaikulam (Motherly) variety.
  • For most of the film, the heroine would be shown in rather a stubborn light as one who isn’t willing to move on shrugging her past. Heroines were virtues of everything good in films then.
  • This was again one of those early movies in Tamil where the boy (Karthik) professes his love for the girl very casually in his second or third meeting without beating around the bush so much. In fact that scene when he actually does is only the first of the many scenes in all Mani’s films which establish his credentials as a King of soft romance!
  • I read in Mani’s book that the entire Karthik portion was an afterthought and it was not in his original script. I am now wondering how the film would have actually shaped up without that short but breezy portion where Karthik educated youngsters of those days on ‘pataoing’ girls with confidence.
  • It’s also one of the first films where the hero is a MBA and is a practicing HR Manager. Probably Mani pitched in his own MBA background here and weaved it into the story line effectively. (Union issues, thugs bashing up factory managers and even killing were quite prevalent in the 80’s India). On Mani’s MBA background showing up I must also mention that very memorable “Mr. Chandramouli – Coffee” scene (watch here) in the film. Karthik casually flips Revathi’s book kept on the table and asks her what the book was all about. She says “Econometrics”. A subject unheard of when I watched but which would come to haunt us as the most dreaded paper in the second year of MBA!!!
  • Some of the lines Revathi as a female character speaks early on were unheard of in Tamil films those days. Remember the scene before the first night?
  • In the climax, when the woman (Revathi) sheds her ego and communicates that she doesn’t want the divorce now, the man (Mohan) a HR practitioner who is trained to deal with human egos most of the time at the workplace, finds it difficult to shed his own ego. I thought that the disconnect one encounters between theory and practice was demonstrated very well here. Don’t know if it was intentional or could be I am reading too much.
  • And finally here was a film without any villain per se.

Revathi was super brilliant in the film. She portrays the transition from a college going happy-go-lucky girl to a serious married woman in an unfamiliar land with ease. The hero Mohan was those days called “Poor Man’s Kamal”. When a producer couldn’t afford Kamal they would resort to Mohan. He had limited histrionic skills but did well with the song sequences. And in a superstitious film industry he was considered a lucky charm. But in Mauna Ragam he did manage to emote well and with Surendran dubbing for him superbly, Mohan made his mark as an actor for the 1st time.

Apart from being a trail blazer, the other thing which worked well for Mauna Ragam was its freshness in approach. Just a few characters, set in Delhi, P.C.Sriram’s cinematography, the angles, a no “big star” cast to mention a few.

While I say it was a film with no big stars, I must add though that there was one. Which was Ilayaraja’s music. The songs and the background score integrate nicely into the film and set the mood frame after frame. In that one song – “Mandram vantha thenralukku,…” Raja ably supported by Vaali with the lyrics and S.P.Balasubramaniam with his soothing voice convey the conflict in the minds of the characters so well that you end up feeling sympathetic for both of them! That Raja is the best in the business of re-recording is now beyond dispute.  He demonstrates that in many frames in this film. One such frame is vivid in my memory. In that scene (watch hereMohan asks Revathi to make her choice between “divorce” and “life with him”. As she starts signing the divorce papers, Raja uses the oft-repeated score in marriage muhurtham scenes in Tamil movies – “Maangalyam thanthunanena,…” and that too as very coarse chorus. Nobody else could have conveyed the contradiction and the battle of the mind better!

Not that the film was flawless. I always thought that Mani struggled with comedy. And soon he realized it and jettisoned attempts in forced comedy in his later movies. In this film, the comedy track with V.K.Ramaswamy and a Sardar looked very amateurish and was avoidable. Again a girl who was carrying the ghosts of a tragic love affair in the mind is shown in the initial scenes as a very happy-go-lucky person without any trace of melancholy in her mind. Now you can understand that I am nitpicking and trying desperately to be balanced!

Frankly when we watched the film for the 1st time we were speechless. And then we watched the film again. And talked about it many times over. Why write this review 30 years later, now?? Well just to thank Mani for this and the many other classics he bestowed us.

Postscript: So, it’s 30 years of Mouna Ragam, baby!” I told the wife yesterday as she is also a fan of this film. And she quipped, “Common, in January it’s going to be just 20! You forgot that we got married in 1997???” 😃😃😃

0 thoughts on ““Mauna Ragam” – A review 30 years late!”

  1. True….it was indeed a good film… I watched it once with you in Chidambaram and then i took my dad to watch the film in Neyveli. I remember it vividly. My dad liked the movie so much that he compared it with the old Gemini Ganesan movie…

  2. RSA, Superbly written.. you covered everything.. Mani is a Genius.. This movie was a slow starter but got deserved response when days passed by.. Every charcter in this movie was well chosen including VKR’s role.. Amazing movie and great analysis…. Really Nostalgic.. Hats off buddy..

  3. Hi Anand
    Nice review. Remember watching the movie in Chidambaram and spent days analysing it. It is one of those movies that is true path breaking classic. I love this film.

  4. Arunmozhi Balasubramanian

    Anand…thanks for this….it was one of the lively movies full of life and it’s contradictions…I disagree on the revathi character…i interpret the jolly behavior (dancing in the rain carelessly) as her coping mechanism with a escapist attitude. Defines her behaviour for the rest of the movie…

    Actually more than the guys, many girls, including my wife grew up with the expectation that, husband should be like mohan in Mouna raagam and put too much pressure on us to live up to:-(!…

    1. Ha Ha – Arun I empathize with you 🙂 🙂 on the expectations bit!!!
      As you watch the film it will be difficult to find fault with all the 3 characters – Mohan, Revathi and Karthik. They all have their own justifications for the way they behave. That’s why I also mentioned there’s no negative villain character in the film!
      Thanks for writing in. I think during our Chidambaram time, this was one talked of film!

  5. Thiagarajan Amirthalingam

    Thanks, RSA for the wonderful review which made us to recall the Movie and its impact that shook people and realize a lot about relationships. You have covered a lot about the knot and haven’t given us some space to comment 🙂

    Any how, here are my words.

    Unlike all other relationships, Man – Woman relationship need a natural bonding of Love or affection. If a Girl from an Orthodox Family is attracted towards a Rationalist, then it is not just an Infatuation but more than that, a feeling. Call it as an Ecstasy.

    If the Girl loses such a wonderful relationship all of a sudden then recovering is an Himalayan task and may take some time.

    But if the Girl had to accept another relationship due to circumstances, then starts the problem. Fortunately the Girl gets a Wonderful personality as her another Man. Otherwise another break in another relationship and it cannot be explained how pathetic a Human mind would be.

    A wonderful story, carefully woven around a Girl’s life is Mouna Ragam. Let us keep the cinematic parts aside like Music, Photography, Direction, Humour though they add a lot of flavor to the Story.

    The message is the Intelligence. A message of Understanding, a message of Respecting each other’s feelings. It is the message that has been carried by us even after decades till now.

    Maniratnam had joined a few others who can throw powerful messages like this and they are none other than Balachander, Mahendran, Balu Mahendra, Barathi raja and so on.

    Thanks again, RSA. Keep on digging more impacts.

  6. Anand – Very well captured. You brought all the salient n intetesting aspects of this ‘Metro’ film. One of the criticisms of mani was his films suited the urban audience more. Though he tried to address this in subsequent films, nayagan being the most important one that changed this to some extent, still he remained predominantly an ‘urban’ or ‘A’ center director

    1. Thanks Mukund for your feedback. I also used to think that Mani is too urbane in his thoughts for the masses and may not connect with B/C centres. But then I realised later that while he is indeed very popular in Metros, he is equally revered as a good film maker in B/C centres as people watch his films for the aspirational value! If you see, when his film succeeds (Bombay, Roja, Anjali, Alaypayuthe,..) it is a hit all over and when it bombs (Like Kadal,… ) it fails every where.

  7. Ramesh Babu Srinivasan

    Good movie. Evergreen illayaraja’s song. Good review. Didn’t realise 30 years have gone by. Enjoyed reading RSA.

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