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The tender genius of Mani Ratnam’s Anjali, his most underrated film_我的网站

A |     Released in 1990, Anjali is often labelled a “children’s film” or “family drama.” While not inaccurate, those descriptors do little justice to its scope. At its heart, Anjali is an unflinching exploration of how a family fractures and reforms in the presence of the ‘other’. That ‘other’ is Anjali, a young girl with multiple neurodevelopmental conditions, abandoned at birth by a father (Raghuvaran) too afraid to allow grief and hope to co-exist. This isn’t merely a story of acceptance. It is one of confrontation, of guilt, of tenderness, of societal callousness. The child becomes a mirror, and every character from her mother (Revathi, sublime even in silence) to her bewildered siblings is forced to reckon with what they see in their reflections.          Beyond the Noise: Anjali as a Radical Experiment in Empathy In the landscape of Tamil cinema in the 1980s and early ’90s, defined by moral binaries and external antagonists, Ratnam’s Anjali was a narrative insurgency. There are no villains here. The real struggle resides within the confines of the home, and in our collective discomfort with difference. The film dares to ask difficult questions: What does it mean to be normal? Who gets to decide? And can love alone mend the gaping wound of fear?           Language of Loss: Visual Poetry and Sonic CompassionSantosh Sivan’s cinematography conjures a visual poem—Anjali glimpsed through half-closed doors, framed in fractured mirrors, or bathed in gentle light. Her presence is not marginalised, but mythologised. She isn’t just a character; she is a quiet force that reshapes the emotional architecture of everyone around her.Ilaiyaraaja’s music doesn’t accompany the film, it animates it. A lullaby becomes a leitmotif of endangered innocence. His string arrangements, especially the plaintive violins and cellos, turn emotional undertow into orchestral language. Without his score, Anjali would still speak, but not sing.And then there is Shamili. Her performance is startling not for its polish, but its truth. There’s nothing rehearsed about it. Mani Ratnam, ever the alchemist of performance, finds in her something raw and instinctual; less acting, more inhabiting.           The Social Politics of Tenderness In hindsight, Anjali might be Ratnam’s most political film; not through slogans or speeches, but through its unwavering gaze at how society fails its most fragile members. The apartment complex, with its manicured lawns and modern facades, reveals itself as emotionally atrophied, until Anjali unearths something resembling humanity. There is no appeal to sentimentality. Instead, Ratnam urges us to sit in discomfort. And in doing so, he crafts a film that listens more than it speaks, a cinematic act of radical empathy in an era of dramatic noise.            A Legacy Too Quiet to Ignore  For all the epic scale of Raavanan or the operatic ambition of Ponniyin Selvan, Anjali remains Ratnam’s boldest creative risk. In a culture that celebrated machismo and mass appeal, he dared to whisper. And perhaps that’s why we don’t talk about it enough. Because Anjali isn’t here to entertain. It’s here to unearth.  And in that stillness, lies its genius.       See Also:Aishwarya Rai Bachchan and Amitabh Bachchan to star in Mani Ratnam’s next?。    周崇庆在社交媒体晒出“哪吒三太子”的造型。（取自周崇庆IG） 马来西亚蛇年贺岁片《新年·奇迹号》8月中公布演员名单，除了“阿牛”陈庆祥等多名马国演员，还有新加坡演员洪慧芳和周崇庆。洪慧芳饰演灵魂人物“嘟妈”，周崇庆的角色当时保密。周崇庆8月23日在社交媒体晒出《奇迹号》的哪吒三太子造型，吸引胡煜诗、胡佳嬑、张玉华等艺人与网民留言，纷赞51岁的他可爱。《联合早报》23日联系上周崇庆，他当时准备从马国返新，抵新后直奔另一个工作。周崇庆过去五天都在云顶高原拍戏，其戏份已完成，但其他演员还在当地拍摄，料拍到9月初。新加坡演员洪慧芳（左）和周崇庆演出马国贺岁片《新年·奇迹号》。（取自周崇庆IG） 记者问他，在片中演“非人类”角色？莫非演神话人物哪吒？周崇庆笑回：“我演的是人类，不是非人类。至于为什么有哪吒三太子这个造型，那是因为我的角色是乩童！但实际上又不是乩童……不能透露太多，不然就不好玩了。”《新年·奇迹号》由马国导演李勇昌和丁仕昀联合执导，故事改编自李勇昌2009年的儿童舞台剧《嘟嘟婆婆不见了》。电影以喜剧手法带出家人、母子之间的情感，故事反映不少人经历疫情后的真实情况。李勇昌说：“疫情后的这几年，大家都遇到很多挑战、很多离别。

B | 所谓新年，就是新的一年、新的开始，希望这部电影带给大家的信息是放下过去，往前走，才会有奇迹出现。”图/文：取自《联合早报》。

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