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The tender genius of Mani Ratnam’s Anjali, his most underrated film_我的网站

A |     Manish Malhotra and Farah Khan have collaborated in several projects. The two have been friends for long and have often spoken about the camaraderie they share. During her latest vlog on YouTube, Farah visited Manish Malhotra's home and they opened up about their friendship, the banters they have had over the years and the parties the two have attended.          Manish described what Farah used to be like during shoots before. Calling her "Farah the choreographer," the designer noted that she would often snap while filming. Recalling the filming of Phir Bhi Dil Hai Hindustani, Manish said Farah would go "Ye kya he? Aey ye kaise he? Ye costume kaisa he?" (What is this? Why is it like this? Why is this costume like this?) The designer also shared that he was irritated with her comments and retorted, "There was this Juhi Chawla song... and she was like, 'This grey kurta is not moving!' I was like, ‘You are always commenting!'"The two recalled another banter, which involved filming Kareena Kapoor Khan for Fevicol Se. While laughing remembering the good ol' days, Farah shared, "I remember he got very angry with me, and did not pick up my call for two days!"However, not all went downhill between them! Compliment Farah, Manish shared how calm she becomes while donning the director's hat. "Woh itni achchi ho jaati he ki jo ap bolo ki achcha aise karenge… you become another person!" he quipped. Adding to it, Farah shared that she is at her happiest when she directs.          The two have collaborated time and again, alongside Karan Johar. Manish Malhotra has also worked as a costume designer for Farah's own movies, including Main Hoon Na, Om Shanti Om and more.Also Read: Sushmita Sen Recalls Farah Khan Correcting Her Saree Look in Main Hoon Na: “Kya Lungi Baandhi Hai?”。    Released in 1990, Anjali is often labelled a “children’s film” or “family drama.” While not inaccurate, those descriptors do little justice to its scope. At its heart, Anjali is an unflinching exploration of how a family fractures and reforms in the presence of the ‘other’. That ‘other’ is Anjali, a young girl with multiple neurodevelopmental conditions, abandoned at birth by a father (Raghuvaran) too afraid to allow grief and hope to co-exist. This isn’t merely a story of acceptance. It is one of confrontation, of guilt, of tenderness, of societal callousness. The child becomes a mirror, and every character from her mother (Revathi, sublime even in silence) to her bewildered siblings is forced to reckon with what they see in their reflections.          Beyond the Noise: Anjali as a Radical Experiment in Empathy In the landscape of Tamil cinema in the 1980s and early ’90s, defined by moral binaries and external antagonists, Ratnam’s Anjali was a narrative insurgency. There are no villains here. The real struggle resides within the confines of the home, and in our collective discomfort with difference. The film dares to ask difficult questions: What does it mean to be normal? Who gets to decide? And can love alone mend the gaping wound of fear?           Language of Loss: Visual Poetry and Sonic CompassionSantosh Sivan’s cinematography conjures a visual poem—Anjali glimpsed through half-closed doors, framed in fractured mirrors, or bathed in gentle light. Her presence is not marginalised, but mythologised. She isn’t just a character; she is a quiet force that reshapes the emotional architecture of everyone around her.Ilaiyaraaja’s music doesn’t accompany the film, it animates it. A lullaby becomes a leitmotif of endangered innocence. His string arrangements, especially the plaintive violins and cellos, turn emotional undertow into orchestral language. Without his score, Anjali would still speak, but not sing.And then there is Shamili. Her performance is startling not for its polish, but its truth. There’s nothing rehearsed about it. Mani Ratnam, ever the alchemist of performance, finds in her something raw and instinctual; less acting, more inhabiting.           The Social Politics of Tenderness In hindsight, Anjali might be Ratnam’s most political film; not through slogans or speeches, but through its unwavering gaze at how society fails its most fragile members. The apartment complex, with its manicured lawns and modern facades, reveals itself as emotionally atrophied, until Anjali unearths something resembling humanity. There is no appeal to sentimentality. Instead, Ratnam urges us to sit in discomfort. And in doing so, he crafts a film that listens more than it speaks, a cinematic act of radical empathy in an era of dramatic noise.            A Legacy Too Quiet to Ignore  For all the epic scale of Raavanan or the operatic ambition of Ponniyin Selvan, Anjali remains Ratnam’s boldest creative risk. In a culture that celebrated machismo and mass appeal, he dared to whisper. And perhaps that’s why we don’t talk about it enough. Because Anjali isn’t here to entertain. It’s here to unearth.  And in that stillness, lies its genius.       See Also:Aishwarya Rai Bachchan and Amitabh Bachchan to star in Mani Ratnam’s next?。

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