Creativity can not excel at all times.The path of a creative artist has it own ups and downs. To sustain and stabilize, one needs constant shows of brilliance to establish a place for oneself in a field of one's choice.The film field in particular, throws a lot of challenges by way of competition and struggle besides pet projects at times getting stuck or becoming failures.The riskiest position is always that of a film director because,once a film makes waves with the audience and attracts awesome reviews the director becomes a darling of creativity and the future attention of the film world turns to him with greater expectation and respect.This naturally increases the director's nervousness as much as his responsibility in film making.
The previous millennium for quite long was actor oriented.There were MGR directors and the makers of Siivaji Ganesan movies. P.Neelagandan,M.A.Thirumugam K.Shankar were some conventional directors of MGR.Though film makers like A.Bhimsingh,A.P.Nagarajan P.Madhavan and A.C.Thirilogchandar were primarily known as makers of Sivaji Ganesan films,they were both voluminous and qualitative, as directors, through out their career. Directors like J.Mahendran and S.P.Muthuraman held Rajini as their most favourite hero. Other directors like C.V.Sridhar, K.S.Gopalakrishnan, K,Balachander,Balumahendra and Barathiraja had all carved a niche for themselves as directors of themes and makers of stories open to performance by any kind of talented actors. K.Balachander and Barathiraja in particular carry the singular credit for making not only great films but also for transforming their chosen men and women into longstanding actors of distinct merit. Later Shankar became synonymous of grandeur in presentation with his single minded dedication to big budget projects. Eight out of his ten movies released so far, made a stupendous impression on the viewers.The other two movies 'Jeans' and 'Boys' too cannot be said to have failed to reflect his distinct film making zeal.
Manirathnam the other consistent maker of a special variety of films, seems to share with Balu Mahendra a similar platform of perspectives at least in a few aspects. Like his senior, Manirathnam also has an unruffled perception of the aesthetic yardsticks of creativity and firmly believes in the dynamic,unfailing application of subtle photographic strategies in his films. As in Balu Mahendra films, one could always come across a feel of poise in narration and the absence of exaggeration in tone and tenor, in the movies of Manirathnam .Both these men seem to have in their creative galleries,a preferred rack for themes of aberrations,though such a theme more frequently occupies the films of Balu Mehendra. Besides these stable makers of brilliant shows, K.S.Ravikumar P.Vasu and Lingusamy have established a name for themselves as makers of commercial hits on a regular basis. Baghyaraj another energizing creative potential,ruled the to the roost for a considerable period and made his mark as a conventional film maker with a mass appeal.
But there are many in the line of directors who ignited fire,kick started their journey with brilliance but got stuck here and there,unable to sustain their show of their brilliance. Even an intelligent and richly imaginative director like Parthiban did not move beyond his 'Puthiya Paathai' and became contented with his histrionic display inspite of the fact that he has directed nearly a dozen movies. Similarly, director Ezhil who started with a bang in 'Thulladha Manamum Thullum' had to be satisfied with his moderate show of stuff in Pennin Manadhai Thottu, Poovellaam Un Vaasam, and Raja . His other two films Deepavali and Manam Kothiparavai were rated much lower than the others.
Dharani whose flash of brilliance starting with Dhil,continued in Dhool and Ghilli fizzled out later in his Kuruvi and Gusthi. R.V.Uthayakumar who made a moderate impression to begin with,suddenly rose to glory with his Kizhakku Vaasal,Chinna Gounder, his fine comedy show in Kamal's Singaravelan and later in Rajini's Ejaman. But after that he got hindered in his journey. Agathyan who was highly estimated for his two brilliant movies Kadhal Kottai and Gogulathil Seethai began to fly low. R.K.Selvamani who made waves with his Pulan Visaaranai ,Captain Prabakaran and Makkal Atchi got himself frequently entangled with the censor board due to choice of politically sensitive issues as his themes for narration and so his projects were either delayed or given up.His Chembaruthi, one of his earlier releases and a fresh narration of an enchanting love story almost similar to the Hindi blockbuster Bobby was received very well by the audience.
Sundar.C who is reputed for his great comedy entertainers like Murai Maaman,Ullathai Allitha,Mettukkudi Unakkaga Ellaam Unakkaga Winner Giri and London, moved to acting as hero from directing movies. K.V.Anand who started well with his Kana Kandein improved his show in Ayan and made a brilliant record with his 'Ko' but fumbled subsequently in Maatraan for want of cohesion and impressive narration.S.J.Surya whose brilliance was noticed in Vaali and Kushi could not sustain his refreshing levels of creativity. Vasanth the earnest disciple of K.Balachander,made a glazing mark in his Nee Paathi Naan Paathi Aaasai and Keladi Kanmani but, is yet to accelerate further in his drive as a director of timeless merit.
Saran's sanguine directorial approach has made most of his films like succulent fruits, ripe with juvenile juice capable of energizing the viewers to a great extent.His Kaadhal Mannan, Amarkalam and Vasool Raja MBBS are definitely his best creations;Parthein Rasithein,J.J, Attakaasam and Asal made moderate entries.Even his so-called dampeners Alli Arjuna and Modhi Vilaiyaadu, could not be said to be lacking in the vigorous display of youth. Energy is his criterion and each of his movies could be called a brilliant energy drink. Thangar Bachan the other, more than a decade old director always leaves his impressions of the native touch solidly felt by the audience.His flash of brilliance is in the realistic narration with individual and social emotions dominating throughout his narration. His Azhagi,Solla Marandha Kadai, the award winner Pallikkodam and the latest Ammavin Kaipesi deal with different themes with native innocence and genuine emotions. There are other potential contenders for a form of brilliance, like Gautham Menon, Baala, Radha Mohan Vikraman and A.R.Muruga doss. New forces like Vasantha Balan, Vetrimaran, Mysskin,Prabu Solomon 'Pasanga' fame Pandiraj and the duo M.Sasikumar and Samuthrakani are all in the race.
So long the creative wind is in one's favour one can shine as a brilliant star.The most difficult thing in one's career is to remain at all times, as the most wanted and best received artist.Brief flashes no doubt, vindicate one's positive creative urge with in. If the flashes collect into a constant shining pattern,one feels that they have lived up to their creative aspirations.If the brilliance continues, recognition becomes a natural sequel. Individual satisfaction and popular sentiment and acclaim, always precede awards and honours.