Lights, landscapes, shadows, silhouettes and more: Remembering KV Anand through his exquisite frames
Thank you for the visuals and ever-lasting memories, KV Anand... Wherever you are, paint that world in silhouettes and shadows... Once again... Thank you.
Acclaimed cinematographer-filmmaker KV Anand passed away in the wee hours of Friday after suffering a cardiac arrest. Here's a look back at some of his wonderful work
This is the first-ever frame that came with the artful stamp of KV Anand. Thenmavin Kombathu - 1994
His first onscreen credit as a cinematographer...
Thenmavin Kombathu - 1994
Anand loved to play with colours. This is the first frame from his work in Minnaram (1994)
Minnaram - 1994
Minnaram - 1994
Another framing device that was close to Anand's heart - windows Minnaram - 1994
Playing with colours and technology in 1994
KV Anand made his Tamil debut with the 1996 film, Kadhal Desam
The iconic flower road in the Kalluri Salai number Kadhal Desam (1996)
Anand's favourites in play. colours, lights and silhouettes
Kadhal Desam
Friendship as vast as this frame was explored in the film, starring Vineeth and Abbas
Cover picture material for both Vineeth and Abbas
Underwater romance between Abbas and Tabu in KAdhal Desam (1996)
Tabu walks away many a time, and KV Anand tracked each of these shots to give us more than one of these frames
Let's end the Kadhal Desam retrospective with this iconic frame... Saar, Tabu Saar.
For his next Tamil film, KV Anand signed on Vasanth's Nerukku Ner (1997), an interesting take on Agni Natchathiram, a film known for its cinematography by his guru, PC Sreeram
This was the first time we saw Suriya on screen. The actor would go on to act in three of KV Anand's directorials -- Ayan, Maattraan, Kaappaan
Everything fell into place for the Manam Virumbudhey number. Simran shone resplendently in his lens
Another Simran Showcase
A Goa-based song, a calm party number with a wonderful play with neon lights and more
Featuring an uber-cool Vijay dancing his way into our hearts, Anand gave him the platform to exhibit his inner cuteness
Sushmita Sen. Blazing lights. Reverse processing. Anand Shakalaka'd technical brilliance into this 1999 blockbuster, Mudhalvan
The village portions allowed Anand to have fun with nature he very much loved to portray on screen
Set pieces became a thing with KV Anand thanks to his collaboration with Shankar
Have you ever wondered how a voyeur behind a waterfall would look at a couple in love? No?? Nevertheless, KV Anand gave us an idea
Look at this video to see how the swords glisten in this game of snakes and ladders
Water. Mountains. Arjun and Manisha Koirala. Mudhalvan - 1999
Moving up north for his first original Hindi film, Anand got to lens the likes of Shah Rukh Khan and Aishwarya Rai in Mansoor Khan's 2000 film, Josh
Here's viewing the gorgeous Aishwarya Rai through the wonderful perspective of Anand
Another play with lights and silhouettes. We'll see him use it a lot more in almost every film of his. But when one can make it stand out every single time, who's complaining?
This here is one of my most favourite frames lensed by Anand. Shah Rukh's iconic gesture against what is made to be the moon... Anand was a genius!
The road less travelled? The waves of the long-winding road allow Chandrachur Singh to fall in love with the beauty that is Aishwarya Rai
Anand seems to have always loved the contrast provided by the beaches and mountains. Here's one more example of his love for this landscape
In his next Hindi film, the 2001 Shankar film, Nayak, a remake of his very own Mudhalvan, Anand showed how he could bring in variety to the same thing.
Snakes and Ladders, yet again.
Green. Blue. Yellow. And a lot of Anil Kapoor and Rani Mukerji.
Let's go back in time to KV Anand's first period film, The Legend of Bhagat Singh (2002)
As Bhagat and his friends went around singing about their love for the country, Anand was right ahead capturing them in all their glory
You can't really separate Anand from framing his heroes in front of a rock or a mountain or any other nature's gift. Here's Ajay Devgn as Bhagat.
Barren landscapes done, we now move on to Anand's other favourite, the waters. Amidst raging waters, we see Ajay as Bhagat guiding everyone to the shore
Lights... frames... can a prison really jail a revolutionary like Bhagat? Anand didn't think so, and he shows how those cells are just constructs for an idea like Bhagat Singh
Vishal must have thanked his lucky stars that it was the lens of KV Anand that first showed him on the big screen. The last time Anand worked with a debutant hero, the actor was Suriya
Chellame featured such gorgeous shots that showcased the strength of Anand. The blues. The waters. The wide shots.
In contrast, Anand had fun with this number in a dustbowl. The usual snakes and ladders being replaced by a game of chess.
It was in 2004 that Anand last worked in a Bollywood film. It was Rajkumar Santoshi's Khakee, which also marked Anand's first time filming a big-ticket multi-starrer
One more favourite frame of KV Anand. Bullets. Darkness, and of course, the light seeping in through them.
How does he manage to frame these gorgeous shots? He had a penchant for spotting the light waves and used it to the best of his advantage.
This song looks different. It has an almost ethereal yet staged quality. How can something be so original and artificial at the same time? KV Anand could strike that balance
And then we come to what was to become his final full-length feature. By this time, he was a one-film-old director too. But he returned... For Shankar. For Rajinikanth. For Sivaji (2007)
In Vaaji Vaaji, KV Anand is said to have used the Super 35 mm single-sensor electronic camera to give the song a glossy feel. Well, he delivered!
Each frame is a painting in the song. And this is not just restricted to Vaaji Vaaji. What about the fancy carnivalesque nature of Athiradee
The team turned a normal shooting spot into something sort of Venice of the East. The grandeur was unmatched but was almost equalled in the technically brilliant Style song
The various getups, the VFX, the quirkiness, the mirrors, everything... played right into the KV Anand zone... and he lapped it up like only he could.
One Rajini. Two Rajini. Three. Four Rajini. Five Rajini. Six. Getting back into the setpieces format of song shooting, KV Anand made quite the splash with this Rajini intro number
If Vaaji Vaaji is a painting, Sahana is one too. Everything subtly screams beauty in this exquisite number
Not saying anything, except... Wow
once again...just WOW
Well... in his final work as a cinematographer, KV Anand appears briefly in the Balleilakka number, nodding his head along with director Shankar, Rajini, and art director Thotta Tharani
His last onscreen credit as a cinematographer... Well, thank you for the visuals and ever-lasting memories, KV Anand... Wherever you are, paint that world in silhouettes and shadows... Thank you.
