Team FC
In Mani Ratnam's films, we see the protagonists plagued by hurdles that are easy to understand. The conflict is not far-fetched and is rooted in a reality where grief is the remnant of love. The director's Mouna Ragam is a testament to the same.
The men in Ratnam's films are often driven by power, keen on proving their worth to the world. Films like Guru and Iruvar have men who measure their value by the control they have.
For characters like Tara from O Kadhal Kanmani, career is the priority. They don't compromise on their futures, don't settle for anything less than they deserve, and manage to find love and success both.
Whether in O Kadhal Kanmani or Alaipayuthey, the events at the railway station set the stage for the rest of the story. As the train moves forward, so does the journey of the couples in the films.
In Ratnam's films, the mirror is used to for multiple purposes. When we witness an interaction through a reflection, it creates the impression that we're imposing on a private conversation. And when we see a character looking at themselves or at their beloved in the mirror, we're given a chance to perceive how they see them. This use of mirrors can be seen in Guru, Roja and Alaipayuthey.
In this Sanjay Leela Bhansali directorial, Nandini (Aishwarya Rai Bachchan) falls in love with Sameer but is forced to marry Vanraj.