ENGLISH SBI CLASS 04 APRIL 2019 The 1970s saw a transition in Tamil cinema, which had 1. A. limited B. massive acquired enormous political and economic clout but --- C. renowned D. confine --1 artistic success. The Dravidian Movement had E. tantalizing restricted cinema to a propaganda tool and financiers 2. A. orthodox B. absurd only saw money in it. But for exceptions like Unnaippol C. aversion D. romantic Oruvan and Dikkatta Parvati, Tamil cinema was E. melodrama struggling to break free of the formula built on -----2, 3. A. evasive B. doggedly mythology, song and dance, stunts. C. realistic D. abrupt A new crop of directors then arrived and changed the E. awkward grammar of Tamil cinema. They did not reject the 4. Find error/s. market for high art, but sought a middle-ground to tell 1. A and B 2. B and C the stories of ordinary people in a/an -----3 manner. 4 J. 3. Only A 4. A and C Mahendran, the director who died aged 79 on Tuesday, 5. Only C was one such filmmaker, who had a deep influence on 5. A. lacunae B. start-up those who followed him, for instance, Mani Ratnam. C. Film D. Purview The film that made a name for Mahendran, until then E. debut a scriptwriter, was his directorial -----5, Mullum 6. A. ambitious B. antagonist Malarum. The 1978 film had an unusual hero and C. innate D. unconventional Mahendran chose an actor who was known for playing E. pragmatism the villain. The film was a runaway hit and the villain- 7. A. didactic B. milieu turned-hero went on to become Tamil cinema’s C. fiasco D. tantrum unrivalled superstar. E. social Mullum Malarum was followed by Uthiripookkal, 8. A. directive B. unfettered which again had an -----6 hero and storyline. Next C. magnificent D. boisterous Nenjethai Killathe, unlike former, was set in an urban, E. oeuvre middle-class -----7 and played by a debutant actress, 9. A. vigilantly B. malicious Suhasini. Mahendran’s later films didn’t make ripples, C. ordinary D. verbose but his preference for unusual narratives, fine E. pathetic characterisation and the ability to explore faultlines in 10. A. advertising B. human relationships, turned his -----8 into a classroom occasional Filmmakers like Mahendran and Balu Mahendra C. recipe D. editing established that cinema is primarily a visual art-form, E. ground not to be overburdened by -----9 scripts. Directors like Mani Ratnam, who romanced the visual over the text, had a ready audience when they started making films in the Eighties because Mahendran and others had already prepared the -----10.