Ponniyin Selvan I: A true masterpiece

Director: Mani Ratnam
Cast: Karthi, Aishwarya Rai, Chiyaan Vikram, Trisha Krishnan, Jayam Ravi, Prakash Raj, Jayaram, Parthiban, Sarathkumar, Aishwarya Lekshmi, Sobhitha D, Prabhu, Vikram Prabhu, Rahman, Jayachithra, Nizhalgal Ravi, Ashwin Kakamunu, Lal, and many more.
Music: A.R. Rahman

War, fantasy, history have become the mainstream big-camp content that’s drawing attention to moviegoers, as we march into the 3rd decade of the 21st century. Mani Ratnam’s magnum-opus Ponniyin Selvan I is a razor-sharp adaptation of writer Kalki’s historical fiction novel of the same name. The film boasts of a magnanimous team of technicians and cast who have given their career-best work- the brilliant spectacle on screen tells it all.

The novel, Ponnyin Selvan is a 5-volume phenomenal fictionalized tale of war, treason and political drama set in the 9th century when the Cholas ruled South India. Compressing it into a 2 part film, Mani Ratnam takes a measured approach by carefully balancing the high points using realism with a synchronistic structure. Contemporary dialogues and visuals are almost combating each other, symbiotic in treatment. The film runs on the fastest mode you can find on a treadmill, putting you in a spot to keep up with every single frame. It might appear to be a slow burn, until you miss a scene shift. There are multiple conflicts happening in various geographical and social stratas in the film, which makes it difficult to root for a singular emotion or character. We often forget it’s only the first half of an entire story, and by the end, the film sets you up enough to know, there’s a bigger conflict brewing amongst these characters.

Mani Ratnam sticks to his signature style of minimalism and realism, both visually and audially, keeping the forts and palaces immersive and war sequences bloody and unglamorous. The cinematography by Ravi Varman, initiates you as an audience to be a participant to the story, and not just a mere viewer of a film. For example, the Chola Royal residences feel inhabited- in the sense, it’s believable that someone actually lived in a palace just like this a thousand years ago. The fort that Aditha Karikalan, the crown prince played by Chiyaan Vikram feels dilapidated and dirty, and Nandini’s (Aishwarya Rai is the moon Queen herself) chambers have slightly unpolished lamps, and Ponniyin Selvan wears muddied, stained clothes. Production Design by Thota Tharana and costumes by Eka Lakhani are top-notch and spot-on. The armour, jewellery and makeup never outdo each other, and compliment the style of each character, unlike stereotypical period films. The sort of realism you don’t get to witness in many historical period films or series for that matter, was anew and intriguing. While war sequences are highlights, Mani Ratnam turns conversations between two unspoken rivals, a “mass” scene and takes the high road of subtleties for many others. War sequences capture the messy and bloody essence of conquests, and do not romanticize them. Confrontations and treachery never looked more beautiful and glamourous on screen. Especially when Nandini and Kundavai, the Chola princess played by the ethereal Trisha, is a culmination of witty and aesthetic filmmaking aided by AR Rahman’s mastery.

(Spoilers ahead)

The film begins with the family dynamics established by Kamal Haasan’s mighty voice, as we see two friends, Karikalan and Vandhiyadhevan (Karthi) in one of the conquest battles, north of the kingdom. Entrusted with a mission, the witty warrior ‘Vallavarayan’ Vandhiyadhevan follows his prince’s orders and embarks on an spy adventure, along the banks of the river Ponni. Vandhiyadhevan is our narrator, our eyes and ears to everything that’s happening around in the Chola empire and plotted against the Chola throne by various forces within and outside the kingdom. Vandhiyadhevan is like water, finding his route despite every roadblock, his real self hidden beneath a mask of an unbiased loyalist. Especially when he tries so hard not to fall for the alluring Pazhuvoor Queen, Nandini or his tongue-in-cheek responses to the Pazhuvettaraiyar Brothers. His wit shies away when he meets his best friend’s sister, Chola princess, Kundavai Devi. On his adventures, Vandhiyadhevan’s coincidental confrontations with Azhwarkadiyan Nambi (Superb Jayaram), adds the lighter, humorous touches. All the performances in the film are focused, measured and almost niche in their own spheres- Aditha Karikalan drinking in glorious tragedy, chasing Shakespearian conquests yet a captive of his heart and soul; Nandini’s determined, cut-throat obsession for power, a longing bottled up behind those sensuous and mystical eyes; Kundavai’s understanding of politics and gender, and wisely navigating minds of snobbish, Royal advisors to the King. The serene calmness on Arunmozhi Varman’s face when offered the throne, a subtle twitch in the eye and you know he’s the Ponniyin Selvan. To be honest, I was sceptical of Jayam Ravi’s casting and that one moment sealed my doubts, and locked them away in the sea. Only person I wished to see more of was Ponguzhali played by Aishwarya Lekshmi. Sobhita as Vanathi, was an odd casting choice and felt out of place in the Chola universe. Mani Ratnam always emphasises how much casting is a director’s major job, and he nails it in this phenomenal epic. Rooting the actors unabashedly in the story irrespective of their star value, is the epitome of confidence and trust, that contributes to a film’s success on a creative summit.

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The duel between Vandhiyadhevan and ‘Ponniyin Selvan’ Arunmozhi Varman reminds me of the elegantly choreographed spear match in Kurosawa’s Hidden Fortress. A fantastically styled ode to the master, and AR Rahman’s score gave it a wholesome feel. AR Rahman truly reinvents his compositions and nails every bit, with the right balance. Personally, the Carnatic touches added a regal flavour and were my personal favourites especially when Nandini and Kundavai meet, Vandhiyadhevan and Kundavai’s measured flirting, intimate moments between Periya Pazhuvettaraiyar-Nandini to name some. Songs like Devaralan Aattam and Ponni Nadhi were trippy and groovy on a psychedelic level, and I wish the choreography empowered them further on screen. Ratchasa Maamaney and Chola Chola were sophisticated and layered with multiple storylines within them, and keeping the pace intact. Warriors swaying and not dancing in poised ways was fresh and so real, unlike other period films. The placement of Chola Chola, specifically the interludes was fascinating to watch. You can just cannot take your eyes off the characters and dwell into their inner demons.

On multiple viewings, Ponniyin Selvan I is, thematically and structurally, a film of balance and nuance. Striking the balance between realism and grandeur, historical and contemporary and visual minimalism and prose. Can an epic be realistic and individualistic, and yet transport you to a glorious world of a bygone magnificence? Yes, it can and I can’t wait to watch the latter half of this epic.

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  Frames from Ponniyin Selvan Part 2

On Celluloid

AR Rahman, Films, Mani Ratnam, Reviews

The Late Review: Bulbbul

It’s almost been a month since Anvita Dutt’s directorial debut, Bulbbull released on Netflix. I got a chance to watch it last night, a satisfying Sunday watch indeed. Lying on my watchlist for weeks, this supernatural fairytale (sounds oxymoronic, isn’t it!) revolves around a child-bride’s journey over a period of 20 years in colonial India. Set at the end of the 20th century, in Bengal presidency, it begins with a child, Bulbbul’s marriage to a wealthy landlord, Indraneel (Rahul Bose) who’s decades older to her. Initially, just like Bulbbul, we are believed she’s marrying Indraneel’s youngest brother, Satya, and her innocence faces its first blow when a dolled-up Bulbbul is forced to comprehend the difference of a husband and a brother-in-law, by Indraneel on their nuptials. This is a constant dilemma that Bulbbul struggles all her life, as we fast forward 20 years.

The film is a combination of horror and gothic genres, filled with feminist motifs and strong characters seeped in Bengali roots. With red being a motif of anger, it denotes various abstractions within the world and is used to perfection. The writing reminds you of the nativity we could witness in Satyajit Ray’s films, especially Charulata but set in the glamour of the Zamindar world Bhansali created in Devdas. A culmination of both these elements mixed perfectly against the backdrop of the rise of matriarchy In Bengal with a supernatural touch. Few characters felt a little distant to relate to because you never really know or make out what went on in their heads. The abstract nature of storytelling helps in several places, with a few exceptions. The director relies on your acumen to figure out your takeaway, what sheer confidence on their material the creators must have had! The characters played by Tripti Dimri (Bulbbul), Avinash Tiwary (Satya), Rahul Bose (Indraneel and Mahendra), Paoli Dam (Binodini) and Parambrata Chattopadhyay (Dr. Sudip), masters of their craft deliver solid performances which keep you enchanted throughout. The world-building in Bulbbul is precise and rooted, and the cultural sentiments resonate even today. For example, when Bulbbul living as a landlady on her own terms, with a whimpering widow cum sister-in-law, Binodini, is asked to hand over control to her younger brother-in-law Satya who returns after 5 years to the haveli (bungalow), is a representation of the patriarchal assumption of control and power system that presides even today.

Clocking around 90-100 minutes of runtime. Bulbbul does have its drawbacks due to its slow-paced screenplay, with a predictable climax, and lies entirely on the brilliant performances of the actors, its stunning visuals and sound. Nevertheless, it’s a spellbound debut for Anvita Dutt and another win-win for producers, Anushka Sharma and Karnesh SSharma (Clean Slate Films). Bulbbul’s success lies in its atmospheric aesthetics. Every frame that’s visualised and every sound you hear is crafted carefully for the viewer to seep in the world completely and feel it in your senses, drawing you in almost trance-like. Amit Trivedi’s score is composed against the grain,in exact contrast to the visual you see on screen. For example, in a scene where you expect jump scares, there are violins playing in a melancholic tone. The thematic composition elevates the narrative- when heard closely, it feels like a bird (Bulbbul) yearning for freedom, away from the clutches of society. The cinematography by Siddharth Diwan is extraordinary, like Raja Ravi Varma’s paintings translated to a motion picture, and as a viewer, you’re just in awe of it. It looks so beautiful, like a well-designed dream, like the Disney castles you wish to live in one day, kudos to the production designer Meenal Aggarwal! The costumes, makeup, and jewelry add a strong ethnic touch and give a grandiose feeling of the era gone by.

Films like Bulbbul open up new areas of interest for both content creators and consumers. Content-driven cinema, even today, is highly under-rated and often goes unnoticed. It’s entirely upon us, the audience to encourage such work and be the torchbearers of good content. This is also an appreciation post for Clean Stae films for enthralling us with some amazing content the past few years, some of them being Paatal Lok (I highly recommend you watch it if you haven’t yet), NH10, Phillauri, Pari, and Bulbbul. With producers like her, taking a keen interest in content-driven storytelling, picking up the mantle to boost the envelope of creativity and mind-grasping ability simultaneously. With streaming platforms like Netflix, Amazon leading the way, our tastes are constantly changing and we are seeking out for something better, thus, raising the value of art itself.

The film is available on Netflix and recommended only for ages 16 and above.

Ponmagal Vandhal: A haunting tale of a woman’s loss and suffering

There are some films that release each year which voice for the voiceless. Ponmagal Vandhal is one such film, currently streaming on Amazon Prime Video, that stands out for it’s bold statements against patriarchy, sexual abuse and the feminist movement. Starring Jyotika, Parthipan, Bhagyaraj in leading roles, the story revolves around a relatively new lawyer demanding justice after 15 years for an open-and-shut case, set in the misty areas of Ooty. Written and directed by JJ Frederick, the film begins on a promising and engaging opening sequence that dries out eventually except for a few twists here and there.

The aftertaste of the film leaves you in a mixed state of mind, because the film could have been so much more if they chose depth, instead of subtlety. In order to appeal to the general strata, the film shows you glimpses of the iceberg, but never in its entirety. Nevertheless, it is an important film to watch for every individual despite the flaws in the screenplay. The repetitive montages, poor character development are elements that can be looked over, only if you try to look at the bigger picture the film aspires to enlighten you with. Ponmagal Vandhal is a courageous take on the Indian justice system, class divide and takes a ambitious stand on the complete disregard, we as a society generally partake, when it comes to a woman’s suffering in a misogynistic world. This “comeback” version of Jyotika, since 36 Vayadhinile, is turning out to be a women-centric family friendly set of films, aiming at message oriented female characters overcoming patriarchy, misogyny and stereotypical norms set by the society. I sincerely hope many established actresses choose films such as this and to tell stories that matter, as they have an acquired audience to magnify the impact. and thus, bring about “the change we wish to see in the world.”

The music and background score by Govind Vasantha is absolutely brilliant and astounding, it blends in perfectly with every emotion. Almost 35 minutes into the film, I did question a few casting choices like Pandiaraj, Prathap K Pothen, since I felt they were a little underused and their character’s sub-plots were half baked to create a profound impact. Whereas on the other hand, Parthiban and Thyagarajan bring a dark tints to the grey shaded character and there is a menacing aura to Parthiban’s witticisms and an insecure misogynist hidden in the mere presence of Thyagayarajan, blending perfectly with their screen presence.

Since it was slated for a theatrical release, the film tries to use some meta references and deliberate expositions to communicate to the audience. But as a overall package, the film is better to be watched on an OTT platform in order to reach its target audience. I think it was wise decision to have given it a direct Amazon release. It takes sheer courage to produce a film like this, thank you Suriya and Jyotika. This film needs to be watched by people across the globe, with their families. It highlights those unheard trauma hidden in every woman’s life, and unearths those issues we rarely want to talk about with our loved ones.

Please do watch it and lemme know your opinion on the comments below. Thanks for reading.