What is Best Editing?

If you ask me for an easy answer to this question, I would say 'Rashomon' is the best film that doesn't blink your eyes.

Yes. When pausing the playback at the specified time to view a scene, the connection with the previous viewers will be interrupted when moving to another scene.

At the time of using it correctly, the intensity and credibility of that scene will also increase.

Two examples for that...

Example 1:

The final scene of the movie "Papanasam" shows Geetha and Prabhakar meeting Varun's parents one last time in a dramatic confrontation.

Shot 1:

Years later, after their son Varun goes missing, Geetha and Prabhakar recall how their lives turned into a nightmare. Anxious and desperate, they repeatedly call out for their son, questioning Anand Narayanan about his whereabouts.

Shot 2:

In a conversation with Suyambulingam (Kamal Haasan), they reflect on their small world and the struggles they face as a family. Geetha reveals her inner turmoil about protecting her daughter and family amidst adversity.

Connection between Shot 1 and Shot 2:

Both scenes share a similar poignant dialogue, emphasizing the characters' emotions and dilemmas.

In the movie, the characters' perspectives are portrayed equally, balancing the narrative. The first dialogue lasts for four minutes, followed by a two-minute dialogue, creating a harmonious depiction of the emotional depth of the scenes.

During Kamal's dialogue, Anand Narayanan's face remains unseen until the end, adding to the intensity and intrigue of the scene. Similarly, Anand's face remains hidden during Geetha's dialogue, building suspense and emotional impact.

The film's opening scene sets the tone for the intense final confrontation. One side features an affluent family dealing with internal conflicts and relationship dynamics, while the other side showcases a common family facing societal and legal challenges.

Geetha, played by Asha Sarath, introduces the narrative, drawing parallels with a chess game. She confronts Kamal Haasan, challenging his authority and initiating a power struggle.

However, in the final scene, Geetha, now facing a personal crisis after losing her son, engages in a heated argument with Kamal Haasan, now just a common man. Their clash symbolizes a clash of ideologies and values.

Geetha confronts Kamal Haasan, questioning his actions and decisions, leading to a tense and emotionally charged exchange. As the scene unfolds, the characters' emotions and conflicts reach a climax, setting the stage for a powerful resolution.

The film's conclusion, delivered in a single line, leaves the audience in suspense, prompting them to reflect on the characters' journey and the resolution of their conflicts.

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Example 2:

'Vidukathaiya Indha Vaazhkai' Song Sequence

From a young age, the protagonist leaves the house like a king and tells his first wife that he is leaving. The scene where Rajinikanth leaves the house without knowing the reason, with a perplexed look, is highlighted in this song.

If you pay attention, in every line of the song, just like Rajinikanth sings, his facial expressions and body language are visible.

Similarly, each line of a song will also be accompanied by Rajinikanth's style. The camera angles will also be changed.

In the transitions between one verse of a song and another, the emotions of the characters will be seen as shadows.

Its compositions will be as follows...

//

**Dialogue:

- Sarath Babu: "I need to push you off the cliff myself..."

- Narration: "Such is life... (Wide to Mid shot - Crane)"

- Music: Shot of Rajini saying 'Alright, Saro' (Mid to Close up shot - Track)

- Music: Shot of Sarath Babu walking in (Mid shot)

- Rajini: 'Who will give me the answer?' (Wide to mid shot)

- Music: Shot of Rajini approaching Senthil (Low angle)

- Rajini: 'What will happen if my hand turns into a six-foot python?' (Wide Shot - Track)

- Music: Shot of Vadivelu, Pandu, Kanthimathi together (Mid shot)

- Rajini: 'Why ask the poor for justice when there is no justice?' (Low Angle)

- Music: Shot of Senthil, Visithra crying (Close up)

- Rajini: 'The eye of justice does not see the poor' (Low Angle)

- Music: Shot of a crying elephant (Mid to Close up)

- Rajini: 'How can poison mix with milk if you call a cow a snake?' (Top Angle to Low Angle)

- Music: Shot of Ponnamblam (Mid shot)

- Rajini: 'How can poison mix with milk if you call a cow a snake?' (Mid shot to Wide shot)

- Music: Shot of people watching (Wide shot)

- Rajini: 'Even if the blood mixes with the clothes, what evil have I done to you?' (low angle)

- Rajini: 'What evil have I done?' (close up)

//

And thus the song ends...

The emotions conveyed by the song and its lyrics, along with the emotions of the scene, provide viewers with an intense experience that offers a profound insight. When you listen to this song anywhere now, the image of Rajinikanth, with blood on his hands, bowing down in reverence, will surely resonate in your mind. This is the impact a scene can have on viewers.

Everyone gets a shot. For those who say "cut" to go out, what about a shot for them? If you ask me, in the previous scene, Sarath Babu, who is about to let Rajinikanth go, will be explained through various reasons for his mistake, highlighted by Ponambalam.

Furthermore, paying attention to Rajinikanth's every move in the entire scene can lead to a shot that can intensify the scene. Therefore, until this song ends, his face will not be shown. It is through this climax that Rajinikanth's tears convey gratitude to you.

In this song, Rajinikanth's childhood friend Senthil's face, is only shown twice.

Shot 1: Rajinikanth, who is struggling without understanding the reason, will express in body language to Senthil, "I don't understand what's going on. Where should I go now?" The length of this shot is longer than the lengths of other shots.

Shot 2: Senthil will look away after passing by Rajinikanth a short distance.

You will see Senthil watching Rajinikanth and the baby elephant in a close-up shot. As the movie begins, the baby elephant will be in that house. In the song "Kokku Saiva Kokku," Rajinikanth will be seen playing with the baby elephant. No matter how you look at it, the bond he shares with the baby elephant is evident. Therefore, from the mid-shot to the close-up shot, the length of that shot will be longer than the other shots.

In this song, the longest shot is dedicated to Ponambalam. Not even a second is wasted.

This is because in the scene where they watch the success of their plan, like the woman running fast like lightning in the maze movie, they will see a Maya-like woman in the scene, even if it's a rush, it's enough to see it clearly. Her reactions do not need a long time to be seen. She has completed her task. Therefore, without even a close-up shot, they will continue to show her in a mid-shot.

Vadivelu, Gandhimathi, and other theater group members are the knowledgeable ones about Rajinikanth nearby. Unlike Senthil, they do not have a long-term connection. Therefore, everyone will be seen in the same shot.

In this way, the shots used in a scene, like in a play, are as informative as the length of a shot that can be seen in a single shot.

In these instances, most of the responsibility falls on the film editor and the director. Director Vetrimaaran will mention this in a podcast.

Those who understand the length of the shots, camera angles, the speed of the scene, and use them effectively are the masters in this field.