But, since they felt the word ‘ irudhi’ wasn’t grammatically correct, K Balachander agreed to go with Roja as the title. So Ratnam came up with another title for the film, Irudhi Varai (Till The End). Ratnam thought the rose in the title represented the state of Kashmir - “something beautiful but with thorns”. Surprisingly, he didn’t like the film’s title, Roja, as it could be mistaken for a local brand of crushed betel nuts. The next day itself, Ratnam gave K Balachander the outline of Roja. So, when he asked me to make a film for his banner, I wanted it to be one of the best films they have produced.” He tells Rangan, “He was one of the reasons I took up film-making. Of course, Ratnam could not turn him down. In the book, Conversations with Mani Ratnam, authored by film critic and writer Baradwaj Rangan, Ratnam reveals that veteran filmmaker K Balachander came to him and asked him to make a film for his banner, Kavithalayaa Productions.
(1998), that dealt with love amidst the backdrop of terrorism and violent politics. Roja was the first in a trilogy of films, with Bombay (1995) and Dil Se.
Now Roja, in an unfamiliar land and facing a language barrier, takes up the task to fight the authorities to get her husband back home. And as they search for her biological mother, Ratnam further explores the sides of War, Life of Refugees, and their cycle of life which continues with misplacement and destruction.However, he is kidnapped by militants and held in ransom as they want their jailed leader to be set free in exchange. The prologue i.e the glimpse I mentioned takes us to long-lasting Sri Lanka and Refugees Connection. Further, we follow a deep insight into child psychology as she’s in desperate want to meet her biological mother.
The conflict of the film arises when her parents Thiru (R Madhavan) and Indra ( Simran Bagga ) reveals Amudha that she’s an adopted child. Through Amudha’s voice, we are introduced to the world of Kannathil Muthamittal.Īnd she’s the one who introduces her world that is the characters revolving her life as it is her story. We are from the perspective of a nine-year-old girl and that’s where the magic lies, the moments are bigger and memorable. In a similar instance, this film begins with a prologue, then it takes us a period ahead. Talking about his 2002 film Kannathil Muthamittal, the structure of Ratnam’s storytelling goes as, A little glimpse of the main plot, Executed Drama, Arisal of Conflict, Then the fairy tale part and heading towards the Climax, a perfect conclusion of the story. The relatable characters, real locations make it more connective. I don’t know how to define it but it’s just something which makes me realize that it’s an Indian version. There’s a mood in every Ratnam film I’ve watched so far, which makes me connected to his stories.
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