| 1 | '''Nayakan''' |
| 2 | |
| 3 | |
| 4 | aka Hero |
| 5 | 1987 155’ col Tamil |
| 6 | d/s Mani Rathnam pc Sujatha Films, Mukta |
| 7 | Films dial Balakumaran co-lyr Pulamai Pithan |
| 8 | c P.C. Sriram co-lyr/m Ilaiyaraja |
| 9 | lp Kamalahasan, Saranya, M.V. Vasudeva Rao, |
| 10 | Janakaraj, Delhi Ganesh, Karthika, Nizhalgal |
| 11 | Ravi, Tinnu Anand, Nasser, Vijayan |
| 12 | |
| 13 | |
| 14 | Rathnam’s controversial breakthrough film is a |
| 15 | version of The Godfather (1972), based on the |
| 16 | life of the Bombay gangster Varadarajan |
| 17 | Mudaliar, played by Kamalahasan (at times |
| 18 | explicitly imitating Brando). Seeing his father, a |
| 19 | trade union activist, brutally murdered by the |
| 20 | police in Tuticorin, the son runs away to |
| 21 | Bombay and becomes Velu Naicker, the |
| 22 | ruthless Godfather with a Robin Hood streak in |
| 23 | the Dharavi slums, assisted by Ganesh in the |
| 24 | Robert Duval role. Velu becomes Bombay’s |
| 25 | minority Tamil population’s ‘Nayakan’ (hero/ |
| 26 | star/leader) and saviour. His daughter Charu |
| 27 | (Karthika) walks out and marries the assistant |
| 28 | chief of police. Velu is eventually shot by a |
| 29 | mentally retarded youth (Anand) he had taken |
| 30 | into his care. Although Kamalahasan’s |
| 31 | performance was widely lauded, critics like |
| 32 | K. Hariharan noted that the degree to which |
| 33 | the star monopolises the film made ‘other |
| 34 | characters seem either underdeveloped or |
| 35 | perfunctory’. The cinematography takes its cue |
| 36 | from Gordon Willis while Thotha Tharani’s art |
| 37 | direction follows the conventions of |
| 38 | Hollywood gangster films and concentrates on |
| 39 | cars and decors. However, the film is more |
| 40 | than a Hollywood pastiche: it draws on 30 |
| 41 | years of Tamil Nadu’s star/politician images |
| 42 | (including the spotless, all-white uniform of the |
| 43 | Tamil politician, chewing betel-leaf) and |
| 44 | directly plays to Tamil people’s anti-Hindi |
| 45 | feelings when Velu, beaten up, gives the |
| 46 | hugely popular reply in Tamil to a Hindispeaking |
| 47 | Bombay cop: ‘If I ever hit you, you |
| 48 | will die.’ The latter half of the film virtually |
| 49 | abandons Bombay as a location in favour of |
| 50 | studio interiors and goes to Madras for the |
| 51 | climax. The success of the film was crucial to |
| 52 | Mani Rathnam’s career, establishing him as the |
| 53 | leading Tamil director of his time. |
| 54 | |
| 55 | [[Film]] |