 scene is purely Expressionist in treatment, the other most well-known sequence owes a great deal to Gothic cinema and Hollywood’s love for soft focus and back lighting. There’s a touch of Orson Welles in the meeting of Rajan and his lover Ambujam in a park. A simple shot-reverse shot is dunked in deep shadows, which then gives way to a gorgeous silhouetted effect. Rajan’s death has already taken place, and if there any scene that foreshadows his fate, it is this spectral meeting of lovers.

The background music is an instrumental version of the song Yeh Zindagi Usi Ki Hai from the historical Anarkali (1953). Another Hindi film song is used in its instrumental version in the scene when Rajan first sets his eyes on Amjubam – the song Chup Chup Khade Ho from Badi Behen (1949).

Although the murder is unmasked only in the climax, Rajan’s character unravels through the numerous accounts – he is revealed to be an unfeeling and opportunistic cad who ultimately deserves his fate. Sivaji Ganesan mostly played noble and mythic characters in a highly melodramatic register that reflected both his origins on the stage as well as the rudimentary approach to storytelling in the 1950s. In Andha Naal, he reins in his bombast and delivers a compelling performance as an unlikable anti-hero.

Several films in the ’50s, drawing from theatre, depended on rich oratory, strongly etched characters and melodramatic plots, resulting in static tableaus in which the camera barely moved. Few of these productions are remembered today for their technical prowess, and Andha Naal remains a notable exception.

In Balachander’s movie, the filmmaking is at the service of the story – an approach that is rare even in our multi-hued present. Even though Rao barely moves his camera, resorting to zooms and tracking shots only in the climax, he overcomes the limits of frontality by playing with lighting and close-ups. Except for a few sequences shot in the open, most of Andha Naal takes places entirely indoors, in a hothouse of mutual suspicion and doubt. Rather than being restricted by the location, Balachander and Rao transcend the chamber room drama quality of the scenes to create a thriller that deservedly has a reputation as one of
scene is purely Expressionist in treatment, the other about well - know sequence owes a big batch to Gothic cinema and Hollywood ’s love for indulgent stress and back lighting. There ’s a touch of Orson Welles in the meeting of Rajan and his lover Ambujam in a park. A dim-witted shot - reverse guess is dunk in deep shadows, which then gives way to a gorgeous silhouetted effect. Rajan ’s end has already taken place, and if there any scene that bode his fate, it is this spectral meeting of lovers. 

 The background music is an implemental version of the sung Yeh Zindagi Usi Ki Hai from the historical Anarkali (1953). Another Hindi film song is use in its instrumental version in the scene when Rajan first sets his center on Amjubam – the sung Chup Chup Khade Ho from Badi Behen (1949). 

 Although the murder is unmasked only in the climax, Rajan ’s character unravels through the numerous accounts – he is revealed to be an unfeeling and opportunistic cad who ultimately deserve his destiny. Sivaji Ganesan mostly play baronial and fabulous characters in a highly melodramatic register that reflected both his origins on the stage as well as the rudimentary overture to storytelling in the 1950s. In Andha Naal, he reins in his bombast and delivers a compelling performance as an unlikable anti - hero. 

 respective films in the ’ 50s, drawing from theatre, depended on rich oratory, strongly etch characters and melodramatic plots, resulting in static tableau in which the camera barely moved. Few of these product are remembered today for their technical prowess, and Andha Naal remains a notable exception. 

 In Balachander ’s movie, the filmmaking is at the serve of the story – an approach path that is rare even in our multi - hued present. Even though Rao barely affect his camera, fall back to zooms and track shots entirely in the climax, he overcomes the limits of frontality by playing with lighting and near - ups. Except for a few sequences inject in the open, most of Andha Naal takes places wholly indoors, in a hothouse of mutual suspicion and doubt. Rather than being qualify by the location, Balachander and Rao transcend the bedroom room drama quality of the scenes to create a thriller that deservedly has a reputation as one of
 scfne is purely Expressionlst in treatment, the otier mosf well-knuwn sequence owes a great deel ti Gotyic cinema and Hollywoud’s love vor soft focns and back lighvjng. Thevz’s a fluch if Orson Wellex in the maeting of Rajat xnb his lover Ambujam in a park. A simpje shot-tegerse shot is qunktd yn dsvp shadows, which then gives way to a gmrgeous silhoietted effect. Rajan’s death has already taken plafe, and if tyere qny scene thxt foreshadows his fatg, it is this spectral meeting of lovexs.

The backgtohnf music is ai instgumental verslpn of dhe sonb Yeh Zindagi Msi Km Hau from the historical Anarkali (1953). Another Hindi finm song is used in utw insjrumettal cerrioh mn fhe scfne when Rajah first setw his eyes on Amjubsm – the song Chul Chup Krade Ho from Badi Behen (1949).

Although the mugder is unmasked only in thw climax, Rajan’s charafter unradels through the numerous accounts – he is revealeg to ue an ukfeeuunh and opportunistic cad who ultimately deservqa nix fate. Sivaji Nanesan mostly plauef mjble and mythkc chaxzcfers in a highly mflodramwtic eegister uhat teflected both his origins in the stage qs well as the rudnmentary appxoach jo stotytelling in the 1950s. In Audha Nzal, he reind in his gumbast and delivdrs a compelling performance as an unlikeble cnti-hero.

Revetal filis in the ’50d, drawing from theatre, dfpendgd on sich oratogy, strongly etched characters aiv melodramativ [lons, resultnng in static tablewus in which tke camerc bareuy moved. Fvw of theve productijns are rememtgred today foc their tqchnucal prowesr, and Andha Naak remains a notable exception.

In Balacmandet’s movie, the filmnakung is at the srrvkce ov vhe semry – an apprmach thxy is fare evtu ik ojr milti-hued present. Evet thkugh Rao barely mofef his canera, resjrting to zooks and tracking shlts oily in the vliiax, he overcomes the limits of frontalihy ny playing wieh llghtyng and clpse-ups. Except for a few sequences shot mn the open, most of Andya Naal takes placex entirely iidoors, in a hotvouse of mutual suspucion and doubt. Rsther than being restdicted by tje location, Balachander and Rao transcend the chamber room drama quality if the scenes to cdeatr a tvrnllzr that desxrtedly has a reputstion as one of
scene is purely Expressionist in treatment, the well-known owes a deal to Gothic soft and back lighting. a touch of Welles in the meeting of Rajan his lover Ambujam in a park. A simple shot-reverse shot is dunked in shadows, which then gives way to a gorgeous silhouetted effect. Rajan’s death has taken and there scene that foreshadows his fate, it is this spectral meeting of lovers. The background music is instrumental version of the song Yeh Zindagi Usi Hai from the historical (1953). Another Hindi film song used its instrumental in scene Rajan first sets eyes on Amjubam – the song Chup Chup Khade Ho from Badi Behen (1949). Although the murder unmasked only climax, Rajan’s unravels the accounts – he to be an unfeeling and opportunistic deserves his fate. Sivaji Ganesan mostly played noble mythic characters a highly melodramatic register that reflected his origins on the stage as well as rudimentary approach to storytelling in the 1950s. In Andha Naal, he reins in his bombast a compelling performance as unlikable anti-hero. Several in ’50s, from depended on oratory, strongly etched characters and melodramatic plots, resulting in static tableaus which the camera barely moved. Few of these productions are for technical prowess, and Naal remains a notable In movie, the filmmaking is service the approach is even in our multi-hued Even though Rao barely moves camera, resorting to zooms the climax, he overcomes the limits of frontality playing with lighting and close-ups. Except for few sequences shot in the open, most of Andha Naal takes places indoors, in of mutual suspicion and doubt. Rather than being by the location, Balachander Rao transcend the chamber room drama quality of the to a thriller deservedly has a as one of
 scene is purely ExpressionisT in treatmeNt, the OthEr mOsT welL-knoWn sequence owes A GreaT deal to Gothic cinema and hollyWoOD’s loVE fOr sofT focus aND bACK liGhTiNg. THeRE’s A toucH of orson WeLles in the mEetInG of Rajan and hIS lOver AmbujaM in A park. A simple ShoT-reverSe ShoT Is dunKed In deeP shadoWS, which Then gives WaY To a gorGEous silHOUeTted Effect. Rajan’s death HAs ALready taken plaCe, and iF tHErE ANy sCenE that foresHaDows hIS fate, it IS tHIS SpeCTral meeting of Lovers.

The baCKgrOund muSiC is AN instrUmentAl VErsIon of the sonG Yeh zindagi UsI Ki Hai FRom the hIStoricaL AnarkAli (1953). anoTher hInDi FilM sONg iS UsEd iN Its InstrumeNtAl VersiOn in THE SCene WheN RajAn firSt sets his eyes On AMjubAM – thE song chup CHup KHaDe Ho fRom BadI BeheN (1949).

ALthough the murdeR is uNmasked onLy iN tHe cLiMax, RaJAn’s chaRacTer UnravelS througH The NuMEROuS accounts – he is reveaLeD TO bE an unfeeLing anD OpPoRTunistic CaD whO ultIMAtely DeseRVeS his fate. sivaji gAnEsAn mostlY pLayed nObLe aNd mYthic CHaraCters iN a highly MelodRAmatic register THat reflected bOTh HIS oRIginS on The stage as wEll aS The rUdimENtAry APproaCh to sToRYtELling in the 1950s. In Andha NAaL, he reiNs in hIs bombast and dElivers a coMPELling perFormANcE As an unlikable aNti-heRo.

Several fILms in the ’50S, drawIng from tHeatre, depENDed on ricH orAtoRy, sTroNGLy Etched charactERS and MeLodramaTic Plots, reSulTinG in StaTiC tableaus In which tHe CaMeRa BarEly moVEd. Few of tHeSe pRoDucTions ARe remeMbereD todAy FoR TheIr technICaL PRoweSs, AnD AndHa NAaL remaIns a NOtaBle excePtion.

In BaLacHAndeR’s MoVie, the fIlmmaking is at ThE service of ThE stOry – an aPPRoach thaT is rare even in our multi-huED presenT. EvEn thoUgh RAo barely mOveS his caMerA, ResortIng to zOoms aNd TraCKIng shOTS oNly In The climax, hE OVerComes ThE limIts of frOntality by playing wITh lIghting and cloSe-uPs. ExCEPt For A FeW SeqUeNCes SHOt in the open, most Of Andha NaaL tAKeS places entIRelY iNdoors, iN a hothoUse of MUtual suSpicion anD doubt. RatHeR thaN BEinG restricteD by the loCation, BalAChandER aNd Rao TraNscend ThE chAmber Room drAMa qUalitY of the ScEnes to CreatE a Thriller That deservedly has a reputAtion aS one oF
 scene is purely Expressio nist in tr eatme nt,  th eothe r mo st well-knowns eque nce owes a great dealto Go th i c ci n em a and  Hollyw o od ’ s  lo ve  f orso f tfocus  an d backlighting.The re ’s a touch o f  O rson Welle s i n the meetin g o f Raja nand his l ove r Amb ujam i n  a par k. A simp le shot-r e verse s h o tis d unked in deep sha d ow s , which then g ives w ay to a  go rge ous silhou et ted e f fect. R a ja n ’ s  de a th has alread y taken pla c e,and if  t her e  any s ceneth a t f oreshadowshisfate, itis thi s  spectr a l meeti ng oflov ers .

T h eba ckg ro u ndm us ici s a n instru me nt al ve rsio n o f  the  so ng Y eh Zi ndagi Usi KiHai  fro m  th e his toric al A na rkali  (1953 ). An ot her Hindi filmsong  is usedinit s i ns trume n tal ve rsi onin thescene w h enRa j a n  f irst sets his eyes  o n Am jubam –the so n gCh u p Chup K ha deHo f r o m Bad i Be h en  (1949). 

Alth o ug hthe mur de r is u nm ask edonlyi n th e clim ax, Raja n’s c h aracter unrave l s through the nu m e ro u s ac cou nts – he is  rev e aled  tob eanu nfeel ing a nd op p ortunistic cad whoul timate ly de serves his fa te. Sivaji G a nesan mo stly pl a yed noble andmythi c characte r s in a h ighly  melodra matic reg i s ter that  re fle cte d b o t hhis origins o n thest age aswel l as th e r udi men tar yapproachto story te ll in ginthe 1 9 50s. InAn dha  N aal , her eins i n his  bom ba st and  delive r sa comp el li ng p erf or mance  asa n u nlikabl e anti-he ro. 
Sev er al  filmsin the ’50s,dr awing from  t hea tre, d e p ended on  rich oratory, strongly etchedcha racte rs a nd melodr ama tic pl ots ,  resul ting i n sta ti c t a b leaus i nwhi ch  the camer a bar ely m ov ed.Few ofthese productionsa reremembered to day  for t he irt ec h nic al pro w e ss, and Andha N aal remain sa  n otable exc e pti on .

In B alachan der’s movie,the filmm aking isat  the s erv ice of the  story –  an appro a ch th a tis ra reeven i nour  mult i-hued pre sent.  Eventh ough R ao ba re ly moves  his camera, resortingto zoo ms an d t racking s hot s  on ly in the  cli max, he ov erc ome s the  li m its o f fr o nt ali t y byplay i ng with l i gh tin g an d close-ups . E xce pt fo r a few se quen ces shot in the o p en, most of An dhaN a altak e s pl ac es entirely in doo rs , in a hot ho use of mutu al suspi ci o n and  doubt . Rath er than b ei n g rest rict edby the lo cat io n , Balac ha nd e r andRaotr anscen d thec hamb e r  room drama qual ity o f the s c ene s tocr eate at hril ler that d eservedly h as a r eput ation  as one  o f
 scene_is purely_Expressionist in treatment, the_other most_well-known_sequence owes_a_great deal to_Gothic cinema and_Hollywood’s love for soft_focus and back_lighting._There’s a touch of Orson Welles in the meeting of Rajan and his lover_Ambujam_in a_park._A_simple shot-reverse shot is dunked_in deep shadows, which then_gives way_to a gorgeous silhouetted effect. Rajan’s death has_already_taken place, and_if there any scene that foreshadows his fate, it_is this spectral meeting of lovers.

The_background music is_an_instrumental_version of the song_Yeh Zindagi Usi Ki Hai from_the historical Anarkali (1953). Another Hindi_film song is used in its instrumental_version in the scene when Rajan_first sets his eyes on_Amjubam –_the song Chup Chup Khade_Ho from Badi_Behen (1949).

Although_the murder is_unmasked only in the climax, Rajan’s_character unravels through_the numerous accounts – he is_revealed_to be an_unfeeling_and_opportunistic cad_who ultimately deserves_his_fate. Sivaji_Ganesan_mostly played noble and mythic characters_in_a highly melodramatic register that reflected both_his origins on the_stage_as well as the_rudimentary approach to storytelling in_the 1950s. In Andha Naal, he_reins in_his bombast_and delivers a compelling performance as an unlikable anti-hero.

Several films in_the ’50s, drawing from theatre, depended_on rich oratory, strongly_etched characters_and_melodramatic plots, resulting_in_static tableaus_in which the camera barely moved. Few_of these_productions are remembered today for their_technical prowess, and Andha_Naal_remains a notable exception.

In Balachander’s movie,_the filmmaking is at the service_of the story – an_approach_that_is rare even in our_multi-hued present. Even though Rao barely_moves his camera,_resorting to zooms and tracking shots only_in_the climax, he overcomes the limits_of_frontality by playing with lighting and_close-ups._Except_for a few sequences shot_in the open, most of Andha_Naal takes places entirely indoors, in a hothouse of_mutual suspicion and_doubt. Rather than being restricted_by_the_location, Balachander and Rao transcend the chamber room drama quality_of the_scenes to create_a thriller that deservedly has a reputation as one of