VISITOR COLUMN

After a couple of experiments that bombed at the box office and more importantly failed to impress audiences, the humble persona is back with an Alayaputheisque love story, and boy does he excel on familiar forte.  You remember experiencing the shear disgust when Revathi exclaims “Kambli Poochi Oora Madhiri Irruku”? Or the heartwarming grin when Maddy proposes to Shailini in the train? There was certain sophistication even in the simplicity of those sequences.  Okay Kanmani is almost a reminder that the filmmaker who made Raavanan and Kadal is the same French bearded, soft spoken man we all knew once and loved.

The film is a string of beautifully written sequence of events in the lives of two couples and their differences in mindset, values and approach to life. I am sure that scripting a contemporary romantic film sans a judgmental undercurrent must have been a daunting task for the filmmaker. However, the film is a conscious attempt to kindle a sense of self-realization among the Aadi’s and Tara’s out there.  Prakash Raj's character is only a wake up call that change is inevitable and a necessary aspect of life.  Consequently, the superficial nature of the story is also a genuine attempt at imitation. A real couple these days is at times, THAT superficial. It almost makes you wonder if the director got inspired by Jim Carey’s Truman Show and filmed a real life couple using candid cameras.  

Films that bear a realistic tone, with underplayed emotions and subtlety have always appealed to me given their relatability. The performances of the lead characters despite the constraints of being a live-recording picture are blissful. In the blink of an eye, the veteran actor makes you forget the diverse characters he has portrayed in the past and excels as Ganapathy. That’s the beauty of the film. Be it the well-designed offices of the urban couple, or the artistically decorated interior of the house the older couple reside in, it all just fits in. The extent of detailing is bound to impress you especially when Prakash Raj shouts “Rasam is ready, get the plates” and you see the “Eeya Chombu” on the burner. Top notch stuff. Leela Samson shows no traces of a debutante and plays an intense character with utmost ease and poignancy.   

It is really amazing and almost unexplainable how the Ratnam-ARR combo has worked wonders across almost three generations. The original soundtrack of the film is a manifestation of the symbiotic relationship the filmmaker-musician duo shares. To be honest, I didn’t enjoy the music on first listen but they are strategically woven into the narrative and add to the visual serenity.

This movie certainly brings back memories of the infinite times I watched Kannathil Muthamittal on Ktv. I can certainly see that happening with this film.