|Manju Warrier (official website)|
When Ragothaman of the Bharathanatyam and the Worldwide Web blog notified me of his discovery of Manju's performance in Ennum Eppozhum, I thought it would be the perfect time to dust off my long-coming post and take advantage of the increase in Malayalam films available online.
Manju's film classical dances are always a large notch above the rest because her training clearly shows through no matter how "filmi" and hybridized the choreography, presentation, or editing style. Her body geometry and precise movements are a pleasure to watch. Comparing her to the mature Lakshmi Gopalaswamy, Manju's only problem is that in her early film dances as a teenager she showed a lack of polish particularly in her abhinaya which consisted almost entirely of a plastered and unwavering smile and also in some of her lines which occasionally weren't quite perfect.
Trained in her youth in the Kalakshetra style of Bharatanatyam (studying at the same institution as fellow film dancer Vineeth) as well as in Kuchipudi and Mohiniattam, Manju studied Kuchipudi more seriously in recent years under Geetha Padmakumar (Vempati Chinna Satyam's style) and performed her debut arangetram in 2012 after not having danced in public for 14 years. She's back!
Manju's Classical Film Dances
Ennum Eppozhum (2015, Malayalam) - "Dhithiki Dhithiki Thai" - After featuring Manju in a dance competition in his 1996 film Thooval Kottaram, director Sathyan Anthikad brings her back for her film dance comeback—a solo Kuchipudi stage number in his film Ennum Eppozhum. While it leans much more classical than most Indian cinema dances, it still has that filmi touch with the copious editing cuts, out-of-place isolated hand gesture closeups, and bits of prettified quick-choreography. But the number makes up for its shortcomings with lovely lighting/backlighting and Manju's seemingly clean and self-assured lines in some of the adagulu inspirations. Compared to her earlier films, Manju seems to be an entirely different dancer here. She actually has more than one facial expression, and her movements are much more relaxed and graceful. Some media articles and reviews misidentify the dance form as Bharatanatyam, but it's definitely Kuchipudi notably in the lively springiness, occasional mouthing of the words, and the classic Kuchipudi arm movements at :27 and :41 among others.