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建昌县开展“5·12”防灾减灾日宣传活动_我的网站
一 | Released in 1990, Anjali is often labelled a “children’s film” or “family drama.” While not inaccurate, those descriptors do little justice to its scope. At its heart, Anjali is an unflinching exploration of how a family fractures and reforms in the presence of the ‘other’. That ‘other’ is Anjali, a young girl with multiple neurodevelopmental conditions, abandoned at birth by a father (Raghuvaran) too afraid to allow grief and hope to co-exist. This isn’t merely a story of acceptance. It is one of confrontation, of guilt, of tenderness, of societal callousness. The child becomes a mirror, and every character from her mother (Revathi, sublime even in silence) to her bewildered siblings is forced to reckon with what they see in their reflections. Beyond the Noise: Anjali as a Radical Experiment in Empathy In the landscape of Tamil cinema in the 1980s and early ’90s, defined by moral binaries and external antagonists, Ratnam’s Anjali was a narrative insurgency. There are no villains here. The real struggle resides within the confines of the home, and in our collective discomfort with difference. The film dares to ask difficult questions: What does it mean to be normal? Who gets to decide? And can love alone mend the gaping wound of fear? Language of Loss: Visual Poetry and Sonic CompassionSantosh Sivan’s cinematography conjures a visual poem—Anjali glimpsed through half-closed doors, framed in fractured mirrors, or bathed in gentle light. Her presence is not marginalised, but mythologised. She isn’t just a character; she is a quiet force that reshapes the emotional architecture of everyone around her.Ilaiyaraaja’s music doesn’t accompany the film, it animates it. A lullaby becomes a leitmotif of endangered innocence. His string arrangements, especially the plaintive violins and cellos, turn emotional undertow into orchestral language. Without his score, Anjali would still speak, but not sing.And then there is Shamili. Her performance is startling not for its polish, but its truth. There’s nothing rehearsed about it. Mani Ratnam, ever the alchemist of performance, finds in her something raw and instinctual; less acting, more inhabiting. The Social Politics of Tenderness In hindsight, Anjali might be Ratnam’s most political film; not through slogans or speeches, but through its unwavering gaze at how society fails its most fragile members. The apartment complex, with its manicured lawns and modern facades, reveals itself as emotionally atrophied, until Anjali unearths something resembling humanity. There is no appeal to sentimentality. Instead, Ratnam urges us to sit in discomfort. And in doing so, he crafts a film that listens more than it speaks, a cinematic act of radical empathy in an era of dramatic noise. A Legacy Too Quiet to Ignore For all the epic scale of Raavanan or the operatic ambition of Ponniyin Selvan, Anjali remains Ratnam’s boldest creative risk. In a culture that celebrated machismo and mass appeal, he dared to whisper. And perhaps that’s why we don’t talk about it enough. Because Anjali isn’t here to entertain. It’s here to unearth. And in that stillness, lies its genius. See Also:Aishwarya Rai Bachchan and Amitabh Bachchan to star in Mani Ratnam’s next?。 近日，建昌县应急局联合县减灾委有关成员单位在兴隆大家庭门前广场、小十字街广场集中开展“5·12”防灾减灾日宣传活动，以进一步提升辖区群众防灾避险意识和能力，普及推广防灾避险知识。
二 | 活动现场悬挂醒目的宣传条幅，各成员单位分门别类设置展板，发放宣传单、宣传册等宣传资料和宣传品，并向群众讲解防灾减灾救灾知识。
三 | 旨在提高广大市民对防灾减灾工作的高度关注，普及防灾减灾知识，增强基层防灾减灾意识，推广避险自救技能，不断提高防灾减灾能力。希望广大市民积极投身到排查身边灾害隐患的行动中，消除身边灾害隐患，共同推动防灾减灾工作深入开展、再上新台阶。 做好防灾减灾工作是一项复杂的系统工程，需要全社会共同参与。今年以来，建昌县认真落实党中央、国务院决策部署及省委、省政府和市委、市政府工作要求，坚持人民至上、生命至上，增强底线思维，强化风险意识，以排查身边灾害隐患为核心，突出涉灾重点领域、重点场所和重点部位，组织开展涉灾风险隐患排查整治，推动安全防范措施深入群众、落到基层，切实维护人民群众生命财产安全。 《日报》全媒体记者 薛利超。
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