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The focus in both scenes is not on his face as much as it is on his whole body, and yet, your heart cries on losing the man.
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There are days when I think of the way Brando succumbs to the bullet midway through the movie and the way he dies pre-climax. So was Mahendran’s Mullum Malarum which didn’t star Haasan but which happened because he gave Mahendran the necessary and timely help to begin and complete the movie which has my favourite version of Rajinikanth till date. Rudraiyah’s Aval Appadithaan was one such dream. a camaraderie which perhaps began in Hassan's Eldams Road residence where many a movie would be seen, discussed and debated.
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Mani Ratnam always acknowledges the contributions made by Haasan to this film, in which he went beyond the purview of lead actor, and Haasan never fails to mention the focus and sharpness with which Mani Ratnam went about his work. Mani Ratnam and Kamal Haasan have taken their own trajectories ever since but Nayakan remains that ‘constant’ in both their careers. The fact that there is one Nayakan which stands as tall as three parts of The Godfather is proof enough of how much talent there is in Indian cinema that can be put out to the world. Nayakan and Kamal Haasan are inseparable as proof of what magic a synergy of direction and acting can bring to the movie marquee.Īs much as Brando made the lines written by Mario Puzo and Coppola, his own, when he delivered them in his method, Kamal Haasan brought his persona and strength of language to the actions and words and of writer Balakumaran and Mani Ratnam. It's been 33 years since Nayakan released and this is one performance which remains unmatched by any actor across Indian cinema, where the entire life span of a character stands testimony to an actor’s repertoire. Kamal Haasan played Nayakan albeit as a tribute to Brando but this role is a mix of Brando’s Vito Corleone, Pacino’s Michael and a hat-tip to De Niro’s portrayal of the younger Vito in The Godfather 2. Here was a guy beaten to pulp by a rogue cop, covered in blood, but one who displayed both restraint and power when he says, "Naan adichcha nee sethruve." And indeed, he keeps up his warning to the erring cop, as much as he keeps up his word right through-be it to Selvam or Neela or the people in his city who go to him for help. Velu Nayakar was not likeable in the conventional sense-he was the most intimidating man I had ever seen up until then. I also wanted to go back to what was easier to like in terms of how I’ve always seen a ‘hero’ on screen. I wanted to forget Nayakan and go back to liking my usual song and dance films, and the fights in them.
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Not to forget the music of Nino Rota and Ilaiyaraaja and the cinematography of Gordon Willis and PC Sreeram! When the preview show ended, I was a mixed bag of emotions-I looked for something easier to toy with in my mind. I’ve seen both these films multiple times ever since and I’ve a list of favourite things to draw up from Coppola and Mani Ratnam as much as Brando and Haasan.
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It was only after Nayakan that I even sat down to see The Godfather. On a parallel note, Kamal Haasan set a whole new idiom to the term 'actor' with this film. Mani Ratnam made me revisit a Mahendran, Bharathiraja and K Balachander. That one movie made me feel all 'grown up'. Nayakan left me bewildered, bewitched and shook my understanding of cinema.