Well, As I have done over the last decade (Since Bombay to be precise) I watched a Mani Ratnam movie in the first weekend. But, Guru was not the mother of all movie watching experiences like say a Nayagan or Iruvar. The movie had strains of Iruvar and Nayagan all along – basically because of a thematic connect with these movies. Now, that is where I have a problem. Mani has templates of scenes which he retrofits to new projects he undertakes. Now, picture this – Hero is working before he takes on his address to glory. Mani uses an item number to cover that part of the hero’s life. Nila adhu vaanathu mele in Nayagan, “Mayya Mayya” in Guru. Hero and heroine get married, “Nee oru kaadhal” comes in Nayagan, “Ay hairathein” in Guru. Hero is in the pits – “Thenpaandi” in Nayagan, “Jaage hain” in Guru. And, images of Iruvar keep coming whenever Guru addresses meetings. The confined spaces scenes of the lead couple remind you of Roja and Inba’s sequences in Ayutha ezhuthu. It raises two possible questions - Has Mani fallen a trap to his old creations that he has to keep going back to his old movies to borrow scenes? Or is it just his style of film making? However much I want to believe the latter argument, as a Maniratnam disciple, I feel let down. Mani has just stopped stretching himself.
The movie has more than its share of moments though.
The kiss Maddy gives Vidya Balan has to be one of the most brilliantly picturised and passionate sequences in Indian movies. The sequence that sets up the rivalry between Mithunda’s camp and Guru is vintage Mani. The 40 minutes after the hero and heroine intro songs are rocking. A lot of Iruvar in it, but excellent pace and depth in the scenes. The party in Guru’s house when his partner decides to part ways is brilliantly done. Amazing characterization. The belly showing sequence and the dialogs that follow it (Guru and Ash rock in this sequence) are again Mani speciale. Rajeev Menon’s transitions in technique as Guru moves on from one stage to another in life are top class. (I just cant help but feel that Barso re was more Rajeev than Mani. Stains of Konjum mainakkale all along. ) The lead pair are good examples of how Mani extracts performances to suit his script. The Vidya Balan – Guru exchanges are delightful. Mithun da is extremely dignified and is a pillar of strength to the movie. Maddy is almost unnecessary, but for that one kiss – Respect!
While on one hand, I gasped in orgasmic pleasure for some of the better moments, I was totally pissed off with the way Mani had to use kids to sing “Jaage hain”. Was he trying a Thevar magan or what? Mani must have been drunk when he conceived this idea. Rahman is just absent in this movie. The overdose of percussion in the re-recording and that irritating “Guru bhai Guru bhai” chants leave you exasperated. ARR can be seen in his elements only in the melodic Barso re charanam inspired BGMs and that amazing bit song for Vidya Balan. But a great bit song is but an essential ingredient in a Mani Movie. “Mayya”, “Barso re” and “Ek lo ek muft” are needless speed breakers to the screenplay. Why does Mani have to make movies that have songs at all? And the climax. Which Mani ratnam hero speaks a 5 min monologue? Maybe I need to watch it in Tamil and get bowled over by the word play. But otherwise, I felt totally let down watching the climax.
Overall, Guru was brilliant in patches, but when Mani Ratnam takes close to 3 years to make a movie, and has such a hardworking cast at his disposal, you expect more.
