Sadhana is what we can call the accidental actor. Spotted by Ram, the young actor played an important role in his second film Thanga Meenkal, that rechristened her as Chellamma to the Tamil audiences. Little did she expect that she would get a National award for her performance. After all, nobody had expected her to act in the first place. “My family has always been ardent supporters of art but they never expected that someone from the family would act in films. My mother just asked me to give it a shot and see if I am able to do it.” The reception, Ram’s confidence and of course, all were a surreal surprise. “On one hand, we were all so elated, and on the other hand I wasn’t even sure if I deserved it,” she says unassumingly. The talented actor is now back with Ram’s upcoming film Peranbu, where she shares the screen with Mammootty and also takes on the challenge of playing an adolescent girl affected by cerebral palsy. Continue reading “Peranbu has made me a better person: Sadhana”
In Ram’s Taramani, single mother Althea is on a ship with her son and her boyfriend. As they cruise into the sparkling sea, the camera slowly zooms out, capturing the sprawling sea in all its magnificence; the passengers are mere spots. More than just being a picture of scenic beauty, the frame is indicative of the sea of challenges the unconventional ‘family’ has to cross. In the final frame of Lenin Bharathi’s poignant Merku Thodarchi Malai, the camera yet again takes the aerial view, this time to capture a man, who loses his dream. Once again, the frame isn’t just about visual elegance but rather about making us ponder about more. The man behind these frames is Theni Eshwar, who is currently in the spotlight for his mystical frames in the recently released Ram-directorial, Peranbu.
How often do we use the word Peranbu in our daily lives? Anbu, maybe. But Peranbu? Not really. It is one of those charming Tamil words that sounds deceptively simple. But Ram couldn’t have found a better name for his film which is an intense, explorative film on love, all kinds of it. The desire to be loved and socially accepted and the film’s characters are no different. Beginning with Paapa (a phenomenal Sadhana), the child who suffers from cerebral palsy. ‘People who see Paapa feel sympathetic and therefore pamper her, but she doesn’t realise that they don’t stay’ — Ram’s lines are poignantly insightful. Paapa craves for love that doesn’t leave; that sees her for who she is. Amudhavan (a resplendent Mammootty) is also looking for love — one that cares for him and shares his responsibilities. (Don’t caretakers need to be cared for as well?) However, it is not just about their search, but also the decisions that this love pushes them to take. Thangam, Amudhavan’s ex-wife, decides to leave her daughter in her search for love that respects and acknowledges her. In fact, Peranbu is a collation of a few such people’s expeditions for love and also the turns that their love powers them to take. Continue reading “Peranbu movie review: A poignant memoir of love, life and everything in between”
In January 2003, Jiiva’s first movie Aasai Aasaiyai released. Several hits and flops later, Jiiva is quite content with the space he has created for himself. “The stories I do have changed, but my smile hasn’t,” quips the handsome actor. You do have to agree that his films did change. After giving us stellar performances in films like Ram’s Kattradhu Tamil or Raam, the actor has predominantly stuck to different versions of the commercial fare in recent times. “We got the Kattradhu Tamizh’s box back on the tenth day. How do we survive then? We didn’t have the medium back then. Had it released today, the reception would have been completely different,” says Jiiva. He jokes that such films were the perfect examples of the old joke, ‘operation Success, patient died’. “It is easy to ask why I am not doing films like Raam. But they weren’t making collections. There are different kinds of audience, there is an audience for satellite. I figured there is a big disbalance. In fact, I have said that my films are bigger hits on television more than theaters,” says Jiiva with a laugh. Continue reading “Kalakalapu 2 actor Jiiva: I am not part of the race, not here for the fame”
You can probably say the theme in Savarakathi (Barber’s knife) is transformation. A mother who is averse to love marriages ends up holding the immobile feet of her daughter’s physically-challenged beau. The transformation of the very-pregnant Subathra (Poorna) into a mother. Pichai (Ram), a barber who lies through his teeth, decides to turn over an honest leaf. He gets this epiphany in a tea shop interestingly named ‘Poiyya mozhi’. This is followed by a shot of woman sweeping the street and Pichai is next at a cycle shop that again has an interesting name — parisutham (cleanliness). The metaphor here is obvious — Pichai has his character failing literally swept out. Even the blade Manga (Mysskin) carries around gets a new identity. And the title is perfect for this theme considering the barber’s knife gives us one of the more mundane and regular transformations in life. Continue reading “Savarakathi movie review: Ram, Mysskin starrer is oddly fulfilling”