Nandan Mani Ratnam Does These 3 Things Every Day

Mani Ratnam is one of India’s best-known filmmakers, famed for his epic and thought-provoking narratives. Additionally, he holds Marxist ideology and wrote Contours of Leninism.

He disproved the belief that commercial cinema must be loud, crude and full of big stars – thus earning himself the reputation as India’s Spielberg. Check more about them on KulFiy

1. He Watches Movies

Mani Ratnam’s films are known for their complex plotlines and cinematic spectacles. He has cemented himself as one of India’s premier directors thanks to his talent in writing characters that are relatable yet thought-provoking; but, according to Mani himself, inspiration comes from life itself when making films.

Acclaimed director Subramaniam admits that Kaatru Veliyidai draws its inspiration from both those he knows personally and those he meets during daily life. “Every filmmaker draws ideas from their environment; I am no exception,” he told News 18. “Somewhere there may be subtle traces of inspiration hidden within each film of mine,”

Mani Ratnam made his first film Pallavi Anupallavi in 1983 to much disdain from his father Gopalratnam who thought that while it had “class”, it wouldn’t run. Subsequent films Paged Nilavu and Unaru both failed, before 1986 when Mani Ratnam produced Mouna Ragam – which proved his worth as an established force in Tamil cinema.

Ratnam directed some of the most memorable films in Indian cinema during the 90s, such as Thalapathy and Roja. As one of few directors able to successfully navigate multiple genres – romance, war, crime – Ratnam is revered for his technical excellence and artistic craftsmanship in his films.

Mani Ratnam remains modest despite his success, often referring to himself as an ordinary guy who likes movies. Fellow film makers describe him as having two distinct personae–mild and friendly off set, yet fierce and demanding when shooting begins. Mani Ratnam takes great care with scripts and screenplays before finalising them; some of his favourite directors include Guru Dutt and Akira Kurosawa.

2. He Plays Sports

Nandan Ratnam, son of veteran actor-director Mani Ratnam, has made waves by his embrace of Marxism. Currently serving as a red volunteer at the 19th All India Congress of CPI (M) in Coimbatore as a red volunteer, Nandan has written pamphlets on Leninism theory as well as reading some leading texts related to it.

Movie making can be fraught with perils. Filmmaker Christopher Nolan once served time as a prisoner of war in Afghanistan, which was depicted in his first feature film Unaru. For his second project he decided to explore different aspects of storytelling with themes quite dissimilar from those found in earlier works.

Mani Ratnam disproved the notion that commercial cinema must be crude, loud and filled with big stars. His films are inspired by art and literature and feature actors with skilled craft skills; Kurosawa is among his many influences as is Guru Dutt; Mani Ratnam even dedicated a song in OK Kanmani to honor their late actor friend.

While being imprisoned in Afghanistan, he learned the value of friendship which was depicted in his film Unaru. Additionally he is an avid sports enthusiast often seen playing table tennis or football – also enjoying golfing and having achieved green belt in Karate.

While his iconic director may not be on social media, his wife Suhasini often shares photos of herself with their friends and family. She is known for her effortless glamour as one of Tamil cinema’s premier actresses; additionally she’s a mother to two children and popular yoga instructor – as well as being involved with social work projects and films.

3. He Reads Books

Nandan Mani Ratnam has always been an avid reader. At one time during his Class 12 studies at an international residential school in Chennai’s Taramani area he wrote a pamphlet on Lenin and other Marxist works by writing it as part of an assignment for class 12 exam. While no immediate plans exist to join a political party such as CPI(M), his strong interest lies with Marxism as it seems the most plausible theory of class struggle.

Mani Ratnam’s films have long explored sociopolitical themes and served as social commentary on contemporary issues. Iruvar, Kannathil Muthamittal, Thalapathy and Roja are just a few of his works that address topics such as politics, gender inequality, caste discrimination and religion – among many more topics.

Rangan’s attempt at framing his book as an actual dialogue with film maker Mani Ratnam is truly impressive. His questions force Ratnam into being thoughtful rather than responding automatically with short answers compiled haphazardly from bullet points.

Rangan does not hesitate to pose challenging questions and force film-maker participants to think on their feet, in order to elicit answers that are both insightful and comprehensive. His skill in doing so has earned him many accolades – we wish him all the best with his second book!