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That is how she is is a Indian Tamil-language drama film directed by C.

Rudhraiya in his directorial debut, and co-written by him with Somasundareshwar. The film was vikaran by Ragamanjari in association with the M. Government Film and Television Training Institute. The plot revolves around Manju Sripriya and the difficulties she faces in her life, due to xval romantic relationships, resulting in her developing an aggressive and cynical nature towards men.

Aval Appadithan was released on 30 Octoberon Diwali day. Although the film received positive critical reception, it was not a box office success at the time of its release.

However, the film began to develop an audience after directors P. Bharathiraja and Mrinal Sen commented positively about it.

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The film was noted for its stylish filmmaking, screenplay, and dialogue, a large portion of it octoberr in English. Aval Appadithan was the first film made by a graduate of the M. Government Film and Television Training Institute, facilitating students of film technology to achieve success in the field of cinema. Gnanashekharan won the Best Cinematographer award.

Manju Sripriya was raised in a dysfunctional family that consisted of a timid father and a philandering mother; she hurtles from one disastrous affair to another, leading to her ocyober into a cynical woman. Into her life enter two radically different men. One of them is her boss, Thyagu Rajinikanthwho owns the advertising agency she works for.

He is a stereotype of the successful man: In sharp contrast is Arun Kamal Haasanwho has come to Chennai from Coimbatore to make a documentary on women. Sensitive and sincere, he vikayan his job has a purpose and is both shocked and amused at the cynical attitudes of Manju and Thyagu. Manju has been drafted by Thyagu to assist Arun in his documentary.

As Arun and Manju start working together, Arun begins to understand Manju’s complex personality. She tells Arun about her unfortunate past relationships: How she was molested by her uncle, the ending of her first relationship in college when her lover left her by marrying another woman for the sake octobwr employment, and how her second love, Mano Sivachandrana Christian priest’s son, used her to satisfy his needs and lust, calling her “sister” in front of her parents.

These incidents have led to her present attitude towards men. Arun later shares these conversations with Thyagu, who warns him to steer clear of such women.

Inevitably, Arun falls for Manju. However Manju incurs Thyagu’s wrath when he overhears her reprimanding her office staff for commenting on her character.

When Thyagu also comments about her, she resigns from her job. When he learns of this, Arun requests Thyagu to re-employ her. Thyagu simply laughs and says that she is already back, after which Manju seems to have a change of heart and starts courting Thyagu. Arun is devastated to see that she has turned out to be just the sort of woman that Thyagu earlier said she was — opportunistic, money-minded, and fickle.


When he asks her about her contradicting stands in life, she responds by saying that is the way she is and will be. The truth finally emerges that Manju was merely baiting Thyagu to teach him a lesson. When Thyagu starts believing that Manju has fallen for him, he attempts to take advantage of her at a party banquet, but she rebukes and slaps him, after which Thyagu vikqtan away in fright. However, this revelation comes too late for her, as Arun, who is disillusioned with her behaviour, has already married a vjkatan town girl Saritha.

Viktaan Manju tells her aunt about the attempt to humiliate Bikatan and its ramifications, her aunt tells Manju that she deserved it for leaving behind a golden opportunity to start a new life. In a final discussion in Thyagu’s car, Manju asks Arun’s wife, “What do you think of women’s liberation? Arun’s wife replies, “I don’t know”. Manju replies with a cynical, “that is why you are happy”. The film ends with Manju standing on the road as the car carrying Thyagu and the married couple pulls away from her.

A voice-over says, “She died today. She will be reborn tomorrow. She will die again.

She will be reborn again. That is how she is”. Rudhraiya, whose former name was Aarumugam, was introduced to Kamal Haasan by writer and director Ananthu. Godard and Bresson were part of the French New Wavewhich focused on vikafan based on social ideas, some of which were octoner in nature. This was Rudhraiya’s first film as director; [2] quite radical in his approach, he wanted to change the conventions of Tamil cinema at that time.

Rajeshwar was writing a script dealing with women’s liberation at that time, and it was decided that his script would be used for the film; the result was Aval Appadithan.

Aval Appadithan was the debut film for both Nallusamy and M. Gnanashekaran, who jointly handled the film’s cinematography. Octoober the film, the cinematography made extensive use of shadows and close up shots to emphasise the moods of the characters. Jump cuts were frequently used as well.

Filming proceeded smoothly as almost all of the dialogues were ready by the time team went for filming the scenes.

The camera angles were pre-planned as well. Before a shot, Haasan discussed the scene with Ananthu and Rudhraiya on how Godard would have done it. The film was shot in two-hour sessions over a period of four-five months.

Sit a little to the left, please. Aval Appadithan explores a number of themes such as women’s liberation, sex and the chauvinistic attitude of males. Born to a timid father and a mother with loose moral values, she is also subsequently affected by two people she becomes romantically involved with.

One, her college mate, left her to marry someone else for the sake of a job; and the second is Mano, the son of a Christian priest, who used her to satisfy his lust and then trivialised their relationship by calling her “sister” in front of her parents. These relationships result in her becoming wary of men and developing an aggressive nature towards them.

Sociologist Selvaraj Velayutham says in his book, Tamil Cinema: Velayutham believes the film to be constantly resorting to “existing myths about women and relationships: Jeevananthan compared Aval Appadithan to other films whose central theme was women, such as CharulataAval Oru Thodar Kathaiand Panchagniwhile also labelling them as “classics that put the spotlight on women.

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Muthuraman and Pandari Bai.

Manju gets into problems while Arun’s wife is happy. The last lines of the film where Manju asks “what do you think of ‘women’s liberation'”, Arun’s wife answers, “I don’t know”, to which Manju says “that is why you are happy”, send the message that one will inevitably get into trouble if one exhibits assertive behaviour.

Kamal Haasan’s character, Arun, is an early version of a metrosexual male — sensitive and sincere. Rajinikanth’s character, Thyagu, is the exact opposite of Arun — money-minded, arrogant, and a womaniser.

This is evident when Thyagu says to Arun: This implies that Thyagu was also an atheist. When Arun calls Thyagu “a prejudiced ass”, Thyagu responds by saying, “I am a male ass,” with the dialogue being in English. His opinion of Sripriya’s character, Manju, is seen when he says also in English”She is a self pitying sex-starved bitch!

Aval Appadithan ‘s soundtrack and score were composed by Ilaiyaraaja. The soundtrack was released under the label of EMI Records. After the recording session of “Ninaivo Oru Paravai” from the film, Sigappu RojakkalIlaiyaraaja asked Haasan to record “Panneer Pushpangale” that same afternoon. During the recording session, Ilaiyaraaja suggested that Haasan tone down the opening notes; when Haasan sang perfectly as per his suggestion, Ilaiyaraaja accepted Haasan’s next rendition of the song.

He was subsequently replaced with Gangai Amaran. The soundtrack received positive reviews from critics. Kolappan of The Hindu wrote, “If the song “Uravugal Thodarkathai” poignantly captures the vulnerable moments in the life of a woman, “Panneer Pushpangale” and “Vaazhkai Odam Chella” in Aval Appadithan are known for their melody and philosophical touch.

Aval Appadithan was released on 30 October[17] on Diwali day. After it was shown to several distributors and exhibitors, the Safire Theatre Group finally agreed to screen the film as a one-print, one theatre release. The film received generally positive reviews from critics. Despite these perceived flaws, the magazine still appreciated the film, stating that the actors immersed themselves into their characters, leading to them not really acting before the camera but living the characters.

Balamurugan of Rediff said, “It was what we would call parallel cinema these days. The shadowy black-and-white cinematography was different. The dialogues, which were more about revealing character than advancing plot, were different. The frank handling of sex and profanity ‘she is a self-pitying, sex-starved bitch!

The documentary-like detours were different. The painfully sensitive, feminist hero was different.

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Kolappan, called the performances of the lead cast “excellent”. Karthikeyan of The Hindu wrote in December that Aval Appadithan would “remain etched in every film lover’s memory by showing the best of Rajnikanth’s acting skills.

The film did not initially receive a big response from the public, and was not a box office success upon its release. However, after octobsr directors P.

Aval Vikatan – அவள் விகடன் – Issue date – 23 October

Bharathiraja and Mrinal Sen wrote positive comments on it, people began to watch the film and appreciate it, leading Aval Appadithan to develop a cult following. It slipped through their fingers, so to speak. With all the attention that films get these days, I octobet we can get away with such a film any more. At the same ceremony, Nallusamy and M.