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Manichitrathazhu video songs free download Continue Fazilalam's blockbuster Fazila Manichitratahu still gives us chills and thrills, a quarter of a century later. Released on December 23, 1993, the psychological thriller stars Shobana, Suresh Gopi, Mohanlal, Nedumudi Venu, Vinaya Prasad and Innocent. Two National Film Awards, for Best Actress and Best Popular Film, came on the heels of massive box office success. The film was remade as Apthamitra (2004) in Kannada, Chandramuhi (2005) in Tamil (which was also named in Telugu) and Bhool Bhulaiyaa (2007) in Hindi. None of the remakes corresponded to Fazil's original vision or influence. The script by Madhu Mutt follows the strange experiences of the Ganges (Shoban) after she moves with her husband Nakulan (Suresh Gopi) to his ancestral home in Maadampalli in Kerala. There Ganga hears the story of Nagaually, a dancer from Tanjore, whose spirit is believed to be locked in a room in the mansion. Nagavally was a landowner, Sankaran Tampa, and was killed by him after she fell in love with another dancer. Ganga becomes obsessed with the history of Nagaually and soon obsessed with the spirit of the dancer. A friend of the psychiatrist Nakulan Sunny (Mohanal) unearths the cause of Ganga disease and comes with an unusual medicine. In addition to outstanding performances, Fazil's film was also delayed by a formidable team: assistants Priyadarshan, Siddique, Lalom and Sibi Malail, music composer MG Radhakrishnan and lyricist Bichu Tirumala. In an interview Scroll.in, Fazil revisited Manichitrathazhu's decisions, from ideas that informed the script to find the right places. It all started when writer Madhu Muttom came to me with an unusual idea for a script. In the antiquity in Kerala, stones would fall on top of the rooftops, and everyone believed it was made by an evil spirit called Chaathaan, a mythical, mysterious character. We named this kind of Chaathaneru throw stone (Chatan's actions). Some people even worshipped Chathaan to ask him to throw stones at the homes of his enemies. Another thing is that after the electricity reached the houses, the problem automatically decreased. Manichitratahu (1993). Anyway, Madhu asked me if we could work on a script based on Chaathaneru, but I wasn't very impressed with the idea of a story based on superstition. It was then that Madhu told me that Chathaaneru was not all superstition, and that psychiatry had an explanation for this. He said psychiatry had shown that stoning was often done by people with mental illness or personality disorder without their knowledge. It stayed with me. We started to develop this idea further. For three and a half years, we've been discussing what our history should be like. We would start our discussions, take a break in a few months and then pick up the topic again. We wanted our script to get everything from - painting, music and dance - to drama, suspense and comedy. A lot of people dissuaded us, saying that this is a very serious topic, we are dealing with multiple personality disorder, with the main character who was obsessed. But we had confidence in this topic. We wanted to talk about mental illness. That was our goal. It was an unusual theme, of course, but we felt it was something that people across the country would identify with. Courtesy of Swargachitram.We came up with the character Ganga who suffers from mental illness, a kind of divisive personality disorder. We needed someone who looked like her, who she could relate to. That's why we came up with the story of Nagawangli, a connoisseur of music and dance. Nagawangli is a kind of prisoner. She loved one man, was forcibly married to another and finally killed. Similarly, the story of the Ganga, left by his parents with her grandmother, speaks of a sense of abandonment, longing and loss. Seeing The picture of Nagaually and hearing her story, Ganga develops sympathy for her, which later turns into empathy, which finally leads to the fact that the Ganges completely becomes Nagaually. When Nagaually's character was written, the actress who came to our mind immediately appeared Shobana. We didn't want anyone else to play that role. Similarly, for the role of Nakulan too, Suresh Gopi was the immediate choice. The role of the hero - a psychiatrist - took us some time. We wanted the psychiatrist to show some eccentricity. Through it, we felt we could bring some comedy to the movie too. At the same time, we also wanted him to be seriously dead. He's the one who explains the whole disease to the Ganges family. So we felt that Mohanlal was the right actor for the role. All three actors came on board as soon as we approached them mainly because it was my movie. While Shobana and Suresh Gopi heard a broad description of the subject, only Mohanlal heard the full script because his character had to know everything from start to finish. Manichitratahu (1993). Courtesy of Swargachitram.We shot the exteriors on the hill of the palace in Kochi and Padmanabhaburam Palace near Thiruvananthapuram. But Nagawangli's room isn't in any of these palaces. I searched in many places for a room that matched what we had in mind for it. Basically, I needed two rooms. One was Tampa's room, and the other, And in between, there had to be a door. It was in the house of SS producer Wasan in Chennai that I finally found these two adjoining rooms. Vasan rented out his house for filming. The art department created a beautiful painting of Nagawangli, which we hung on one of the walls. The shooting was easy because our script was so thorough. All will be ready at the beginning of the beginning Morning. If I was focused on a stage that was just Mohanlal or Suresh Gopi and Shobana, then I would ask one of my assistants, Priyadarshan, Siddique or Lal, to take a smaller stage at the same time. Thus, the rest of the cast will not sit idly by. The whole shooting took only about 60 days. Since Shobana usually does not use her voice in her films, her voice was named Bhagyalakshmi.Manichitrathazhu (1993). Courtesy of Swargachitram.Since I wanted music with a carnatic touch to it, there was only one person I felt could compose for me, and it was MG Radhakrishnan. But when he heard the story, he ran away, saying that this movie wouldn't work and why I should waste my time. But I insisted and made him compose music. He said he would only create one song - one that comes out of the attic where Nagaunelli's room is located. That's how he came up with Pajamtamage. I went to Trivandrum to hear it and loved it. But I decided that it would not be a song Thekkini, but would sing the character of Mohanlala. I asked Radhakrishnan to compose another song in the same Kunthalavaraali raga. That's what happened to Oru Murai Wanda Partayya. Initially, the song was to be sung only by Nagavally. But I wanted her lover Ramanatan also to be included in the song. There is a part where Nagawangli has memories and dancing with Ramanathan. So I said Radhakrishnan add a section that will sing in a male voice. He immediately created it. After that, it worked out. If MG Radhakrishnan did a fantastic job, no less good work was done by Johnson, who did a interrupting song. He did not use any electronic tools and used only mridangam, veena and sitar. Oru Murai Vanthu Partaya, Manichitratahu (1993). Lyric Bikchu Tirumala wrote two lines in Pazhamtamizh: Manichitra thaazhinullil veruthe nilavara maina mayangi. The word manichitrathazhu stood out to me because it is about a castle. I also connected mani with mana, which means mind. The idea of a castle mind, I found interesting. It was the hardest part of the movie to shoot. I was confused about how to perform the climax. Shobana had to slit Suresh Gopi's throat. Viewers should see that she is about to slit his throat, but from Shobana's point of view or angle, it is Tammy who is in front of her. Suresh Gopi gave me the idea of creating a wooden bench with him strapped on one side of it and a dummy by Tempi strapped on the other side. At the right moment, all we had to do was turn the bench using a pulley-like structure. This scene took a long time. The rest of Manichitratah was so smooth. But with this scene, I didn't have much confidence. We took 16 uninterrupted nights to take it off. Manichitratahu (1993). Courtesy of Swargachitram.Nobody came up to me for a long time because at that time, most of the films in Tamil and and industry were geared towards hero. In Manichitratah, the hero arrives only at intervals. No actor would be willing to take on such a role. P Vasu made some changes in the first half of the film and introduced the hero at the beginning. He made a remake of Cannada Apthamitra, followed by remakes of Telugu, Tamil and Hindi. Everywhere it was a success. As the creator of the original, I got royalties on all these remakes. All those years ago, when I first saw what we did, my first impression was that this film has everything that cinema needs - drama, comedy, music and a stunning climax. I had a feeling it would succeed, but it exceeded my expectations. Today, 25 years later, the reason Manichitrathazhu still stands is that everyone came together to make the film happen.

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