Shot Stories – A compilation of 10 unbroken takes in Tamil Cinema

Having just finished reading Glenn Kenny’s intricately detailed book, “Made Men” on the creation and enduring impact of The Goodfellas, I revisited key sequences from the film.  One of which was the stunningly shot Copacabana sequence.  It is a bravura 3-minute sequence filmed as a single “shot.” (In case you didn't know already, according to Wikipedia, a shot is “continuous footage or sequence between two edits or cuts.”)  This set me thinking about Tamil cinema sequences where I felt very little or no little ‘cuts’ between shots.  And as I began compiling a list of shots of considerable length, I was amazed at the dazzling array of performances or feats of cinematography that Tamil Cinema can boast of.  Without further ado, here is a list of 10 examples that I have compiled.

1.  Sivaji Ganesan in Parasakthi (1952)

The granddaddy of all Tamil cinema monologues, this court sequence is not shot in one shot.  But there are very limited cuts.  As a result, we get to relish the power and rhythm of Karunanidhi’s lines - the “thadaagam” line takes my breath away every time I watch this – and the diction and intonation of Sivaji Ganesan’s dialogue delivery.  To think that this was Ganesan’s on-screen debut gives me goose bumps.

2.  Nagesh and Baalaiyya in Kadhalika Neramillai (1964)

As with Parasakthi, this rib-tickling sequence is not filmed in one shot.  But again, there is very little cutting.  The manner in which Nagesh tees up his story, replete with his sound effects, and the gradual escalation in tension on Baalaiyya’s face is so delightful that any more cuts would have robbed this sequence off its charm.

3.  Saritha in Achamillai…Achamillai…(1984)

Saritha’s eyes - that’s the shot.  This shot is the actress' showcase, to display a gamut of expressions with her large, powerful eyes.  The sound design, for a film made in 1984, is exceptional.  You can ‘see’ all the off-screen events in your mind’s eye.

4.  Kamal in Gunaa (1991)

If there was ever a character establishment scene where the cinematography (Venu) and writing (Balakumaran), not to mention the scintillating performance, came together seamlessly, this is it.  Thanks to Kamal’s ability to deliver his lines with exquisite modulation while walking in a circular motion, the emotional wallop of Gunaa is unsurpassed.  The circular motion is not just a gimmick.  It purposefully takes us into the disturbed mind of the protagonist instantly.  

5.  Rajni in Annamalai (1992)

The book, “My Days with Baasha” co-written by director Suresh Krissna and Malathi Rangarajan is a truly illuminating read.  We tend to take starry vehicles for granted, not always valuing the decisions taken by the behind-the-scenes unsung heroes.  In the Annamalai portions of the book, the director details how, in the crucial confrontation sequence, instead of cutting too much or moving in a more conventional round trolley fashion, the camera first moves from right to left (starting from behind NizhalgaL Ravi) gradually zooming in and out of Rajni, drawing a neat triangle.  PS Prakash’s camera movements are smooth, unobtrusively but palpably enhancing the intensity of the searing Rajni monologue.

6.   The route to the hideout in Roja (1992)

This is the earliest instance I remember of a steadycam shot.  As Santhosh Sivan's camera moves steadily on the rocky path (Rahman’s background score is superb) towards the hideout, we experience not just a dazzling display of cinematography but a gradual build-up of tension as we get to see where Aravind Swamy is held hostage.

1:09:08 min point in the video below:

7.  Parthiban in Swarnamukhi (1998)

There is an unforgettable scene in this film where Fathima Babu visits Parthiban to request him to gracefully exit her daughter Devyani’s life.  A flurry of emotions from shock to anger to indignation to devastation envelops Parthiban.  This is where the actor summons all his acting chops.  The manner in which he implodes with grief (once Fathima Babu leaves the house) is deeply moving – the way he collapses to the floor is just about the perfect finish to this scene.  Click ‘Play’ to go to the part of this scene that happens in one unbroken shot. (While you are at it, check out the next scene in Devyani's house as well. Parthiban is stupendous in that scene too.)

8.   Raghuvaran in Mugavari (2000)

When Raghuvaran tells a story, you don’t cut away. You just sit and listen.  That’s exactly what director Durai did with this lovely story that he narrates.  Balakumaran’s lines are profound – inga jeikala-na makku-nu solluvange…jeichitta luck-nu solluvange.  And PC Sreeram’s camera lovingly captures a master character actor at work.

9.   Prabhu Deva – Raju Sundaram in Pennin Manadhai Thottu (2000)

One of India’s finest dancers and his brother, an equally brilliant choreographer, come together for this foot-tapping number.  For a little over a minute, they move together in perfect sync, perfectly utilizing the props in the slum.  None of the dance steps are particularly noteworthy but the gay abandon with which they dance as a duo makes this song rather irresistible.

2:39 min point in the video below:

10. The birthday scene in Kannathil Muthamittaal (2002)

One of my favorite character establishment sequences, this scene is captured all in one shot, focusing on Keerthana and her family members, quickly establishing the impishness of the kids, the pragmatism of the mother and the impulsive nature of the Dad. This scene is especially effective as a prelude to the adoption scene.   The camera movements are gradual and the actors ‘behave’ on screen in such a way that it does not look staged at all.  It is no wonder Mani Ratnam’s craft is admired as much as it is!

I could not get the Tamil version of this scene. Click on "Play" to go directly to this scene.