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In the opening minutes of Ramanujan, we see the young Ramanujan posing a trick question to his mathematics teacher in school and embarrassing him. We then see him teach a thing or two about mathematics to a couple of priests in the temple, trigonometry to the college students staying in his house and helping out with the seemingly complicated time table of his school. With these few scenes, Gnana Rajasekaran spells out the genius of Ramanjuan (Abhinay) and the film from thereon, essentially resembles a journey the great man has to take towards the acknowledgement of his genius. This journey is predominantly marked by the three relationships that he forms — with his pushy mother Komalathammal (Suhasini), his diminutive wife Janaki ( Bhama) and the man who will be instrumental in the world coming to know of his prodigious talent, mathematician GH Hardy (McGowan). Gnana Rajasekaran is no stranger to biopics, having made Bharathi and Periyar earlier but unlike those two personalities, whose firebrand nature and zeal for their ideals can easily be conveyed on film, his protagonist here is a tricky one. Ramanujan is super-intelligent but how do you showcase intelligence on screen? Then, there is his shy persona. This is a man who is an academic through and through, content to lose himself in mathematics and forget the people around him. He is also a weakling physically, prone to sickness. What the director does is give us scenes where other characters mostly remark on the brilliance of Ramanujan, while using the character himself to spell out his insecurities and failings. Unfortunately, what looks like a good decision on paper, feels dramatically less interesting on screen. While repeated scenes of characters praising Ramanujan seems redundant, the character starts to feel like a cry baby every time he breaks down and voices his fears — of not securing a scholarship, of his work not being recognized, of his separation from his wife and of his impending death. For a film that is about a man with astounding talent, the filmmaking is largely unimaginative. The staging is somewhat old-fashioned (read dated), the pacing staid and the film often slips into the kind of melodrama that you nowadays find in TV serials. This is most pronounced towards the climax — in the scenes that follow Ramanujan's return from the UK. That said, there is a certain doggedness in the manner in which Rajasekaran narrates this story and that keeps you engaged. There is an in-built drama in the life of Ramanujan — a mathematician whose genius isn't celebrated in his own country but is looked at in awe abroad; a system that forces him to lead an impoverished life despite the goodwill of some individuals around him; the recognition finally coming to him only when he steps out of his county, and finally, fate dealing a cruel hand just when everything seems to be coming together in his life — and the director does a competent job of conveying this to us, even if it is in a heavy-handed manner most of the times. Strangely, the political turmoil of the time isn't felt at all (the sole exception is a scene in which Ramanujan talks about satyagraha but that has an entirely different context) and the irony in this tale — the British actually doing something meaningful to an Indian — doesn't come through; it would have given the film quite some heft. The cast includes a number of very familiar character actors in Tamil cinema but their roles are all strictly functional that they don't have much room to make them truly stand out. The same goes for Abhinay, who is earnest but is let down by the writing. Suhasini as Komalathammal is definitely intelligent casting and the actress brings out the grey shades of the character very well. But the English actors come across as wooden, and the Tamil dubbing of their lines in an anglicized accent, only makes it worse.
Gifted Hands: The Ben Carson Story is a movie based on the life story of world-renowned neurosurgeon Ben Carson from 1961 to 1987.
Dramatization of Russian ballet star Vaclav Nijinsky's diaries which detail his madness as well as his homosexual relationship with Ballet Russe impresario Sergei Diaghilev and his marriage to his Hungarian wife.
A portrait of Steven Patrick Morrissey and his early life in 1970s Manchester before he went on to become lead singer of seminal 1980s band The Smiths.
Already a famous painter, Rembrandt van Rijn is commissioned to paint the Amsterdam Archers' Guild. But upon completion of the picture, the men of the guild feel duped, because they don't consider themselves flatteringly depicted in the painting. They therefore decline to pay for the work. During this dispute, the painter finds out his wife is close to death. He finds himself terribly lonely after her passing and suffers from depression until he decides once more to marry.
An optician grapples with the Indonesian mass killings of 1965-1966, during which his older brother was exterminated.
Florence Foster Jenkins is known as "the worst singer of all times" and yet she is a cult figure whose recordings still outsell many contemporary singers. Opera superstar Joyce DiDonato interprets the flamboyant "queen of dissonance". The involvement of the celebrated virtuoso makes it possible to contrast two different musical perspectives and gives viewers a vivid impression of the film's key conflict between inner delusion and external reality.
Dorothy Parker remembers the heyday of the Algonquin Round Table, a circle of friends whose barbed wit, like hers, was fueled by alcohol and flirted with despair.
Rowan Atkinson plays motor racing ace Sir Henry "Tim" Birkin. He was a brilliant racing driver of the 1920s and 1930s whose determination to win made him a hero but caused problems in his personal life.
The film concerns the life of King Naresuan, who liberated the Siamese from the control of Burma. Born in 1555, he was taken to Burma as a child hostage; there he became acquainted with sword fighting and became a threat to the Burmese empire.