<P> Manohar was part of a group involved in anti-government activities . Rangan drew similarities between his motives and those of characters in the Italian film The Night of the Shooting Stars (1982) and Unaru . Mouna Ragam's introductory credits feature photographs of Revathi from her childhood through her teenage years which, according to rapper Blaaze, help viewers "understand the girl, the character, her nature". According to Rangan, the scene where Divya is looking after Chandrakumar at the hospital reflects her traditional qualities; with her strengths, she is humane and vulnerable . Divya's mischievous nature is shown in a scene where she teaches a Sardar offensive Tamil phrases, which he says to V.K. Ramasamy's character . Revathi compared herself to Divya, saying that Divya believes in "living life to the fullest" and she was once like that . Sujatha Narayanan, writing for The New Indian Express, described Chandrakumar as a "patient - understanding - and - poised - at - all - times" man and Manohar as a "dashing, brave and epitome - of - the - word -' dude"'. Narayanan noted that Divya, like the female leads in most of Ratnam's films, is "practical with strong convictions" and the characters "go through their confusions unapologetically". </P> <P> According to Rangan, Mouna Ragam's background score was found by critics to suit its scenes and themes . According to Martin Clayton, Trevor Herbert and Richard Middleton's 2003 book, The Cultural Study of Music: A Critical Introduction, "Oho Megam Vandhadho" resembled Broadway and MTV styles of singing and dancing, and the main songs combine American music with Indian vocals by S. Janaki . Sangeetha Devi Dundoo of The Hindu considered that Ratnam used rain in the film to accentuate the "childlike, free - spirited nature" of Divya . The sarangi and nadaswaram (South Asian instruments) are used in the music accompanying Chandrakumar and Divya's wedding . In scenes of the couple sightseeing in Delhi, light synth - based music depicts them as modern tourists in their own country . The restaurant scene with Manohar and Divya includes awkwardly played sitar music, indicating the couple's emotions . Spanish music is used for the fight scene when Manohar attacks the MP's son . Raveena Joseph of The Hindu noted that films in the 1980s and 1990s which featured men stalking women, hoping to get them, were reflective of "the times where romances were covert and such discretion was necessary even in consensual encounters", citing Mouna Ragam as an example . </P> <P> The theme of a heroine moving to a strange place where she does not know the local language is replicated in Ratnam's later films, Roja (1992) and Bombay (1995). The heroine has a dilemma; because she does not know the language in Delhi she can barely socialise with local people, and she is at loggerheads with the only person with whom she can relate . According to Rangan, the restaurant scene with Manohar and Divya is the first instance in Tamil cinema where a man invites a woman for a cup of coffee . He compared it to Oru Thalai Ragam (1980), in which the protagonists barely spoke . Ratnam said that he was inspired by the Doors and the Beatles and, although it was not uncommon to invite a woman for a cup of coffee, it was not reflected in the Tamil cinema of the time . </P> <Table> <Tr> <Th_colspan="2"> Mouna Ragam </Th> </Tr> <Tr> <Th_colspan="2"> Soundtrack album by Ilaiyaraaja </Th> </Tr> <Tr> <Th> Released </Th> <Td> 1986 </Td> </Tr> <Tr> <Th> Length </Th> <Td> 22: 43 </Td> </Tr> <Tr> <Th> Label </Th> <Td> Echo Audio Company </Td> </Tr> <Tr> <Th> Producer </Th> <Td> Ilaiyaraaja </Td> </Tr> </Table>

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