| 1 | '''Agni Nakshatram''' |
| 2 | |
| 3 | |
| 4 | 1988 146’ col Tamil |
| 5 | d/s Mani Rathnam pc Sujatha Prod. |
| 6 | p G. Venkateshwaran lyr Vali c P.C. Sriram |
| 7 | m Ilaiyaraja |
| 8 | lp Karthik, Prabhu, Amala, Nirosha, |
| 9 | G. Umapathi, Janakaraj, V.K. Ramaswamy, |
| 10 | Jayachitra, Sumitra, Vijayakumar, Tara |
| 11 | |
| 12 | |
| 13 | Rathnam’s hit follow-up to Nayakan (1987) is |
| 14 | a music video-type fantasy with rapid cutting, |
| 15 | hazy images and flared lights. It also boasts |
| 16 | one of the most sexually explicit song |
| 17 | picturisations to date: the camera slithers |
| 18 | along, peeking at a woman autoerotically |
| 19 | engaged in an indoor swimming pool. The |
| 20 | plot involves two half-brothers, one a cop |
| 21 | (Prabhu) and the other a streetwise hood |
| 22 | (Karthik), the two mothers (Jayachitra, |
| 23 | Sumitra), and the shared father (Vijaykumar) |
| 24 | who runs separate family establishments for |
| 25 | them. The end, adapted from the Godfather |
| 26 | (1972) hospital sequence, has the two |
| 27 | brothers uniting to reinforce, literally, the law |
| 28 | of the father (who is a Judge). After the |
| 29 | unsatisfactory conflict between the brothers, |
| 30 | one realises, in the critic K. Hariharan’s words, |
| 31 | ‘that the real hero of the film is actually |
| 32 | behind the camera [p]ulling out every |
| 33 | gimmick available in the ad-man’s repertoire’. |
| 34 | |
| 35 | [[Film]] |