Mani Ratnam & Ponniyin Selvan Part-1
Despite growing up watching Mani Ratnam movies for over a decade this is the first time I am writing about one of his movies, so this piece will be a review of the movie Ponniyin Selvan Part-1 along with an opinion piece of a blindfolded fangirl turned critique of Mani Ratnam film universe. (10 minutes Read)
Ponniyin Selvan
Kalki’s literary magnum opus ‘Ponniyin Selvan’ has been an elusive passion project of many filmmakers for decades. Divided in 5 parts, Kalki created a historic novel that spoke of power, betrayal, love, revenge, all set in the period of Chola reign. Through an amalgamation of history and imagination, Ponniyin Selvan, garnered a cult following ever since the 1950s, when a series by the same name was written by ‘Kalki’ Krishnamurthy and published in the Tamil magazine ‘Kalki’. For over half a century people especially in Tamil Nadu have grown up listening to stories from Ponniyin Selvan and for obvious reasons. From my comparatively recent dive into its world, I could see how it is indeed a captivating narrative exploring various emotions in the backdrop of wars and the world of royal inscrutabilities.
Mani Ratnam’s Ponniyin Selvan
It’s a herculean task to summarize a 5-book novel
to two movies and that is the strength and weakness of the movie. Mostly
staying true to its origin content, the screenplay manages to capture
beautifully the gist of the story. At the same time when you squeeze together
content good enough to make a 5-part movie or a series, the compromises made
along the way becomes too obvious and only whiffs of its actual essence is
felt. Even then, call it the vision of an experienced director or the
sensibility of the original content by Kalki, it was refreshing to watch a
period movie that didn’t solely relied on hypermasculinity and technical
prowess. Ponniyin Selvan’s tempestuous narrative demands passionate
performances unlike the current “PAN India Movie” charade propagating toxic
masculinity and muscle porn.
No matter what opinions one has about Mani Ratnam, it’s undisputable that the man has his own unique style of film making and a peculiar visual sense, which has resulted in what we can call paradigmatic movies throughout industries. His movies are known for its iconic shots, experiments with genres and he is famous for his enthusiasm to materialize his visions, painstakingly accurate. I mean way back in the 90s, the man broke the barrier between south and north film industry and was someone who introduced many unique aspects to Indian cinema whether it is popularizing editing feature like jump cuts or be the musical maestro himself, AR Rahman.
Ponniyin Selvan’s strength is indeed this vision of Mani Ratnam, the way he has shot scenes and conveyed complex emotions in the absence of dialogues is just a masterclass for any aspiring filmmaker. Nuances of character traits are stunningly captured, narrating much more about a role which becomes an exquisite factor as well as a clever addition to a screenplay which has to tell an extensive story. Just like in every one of his movies, he has experimented with various elements within Ponniyin Selvan and most of it has panned out successfully while one of his attempts might have failed to impress many.
Granted that the stylized way of how we are used to see the chaos amidst a war is not the reality, but watching the realistic portrayal made me feel, that maybe it was captured the other way for a reason. The constant cuts and change of angles ultimately made it difficult to focus on the scene. That is probably the only place where I wanted someone like Santosh Shivan to capture the scene with a technical prowess unique to him. While it’s a positive step that there are more ‘multi-star’ collaborations coming out, possibly in some future this blend of talents can happen behind the screen too.
Director’s Actors
Pairing of certain actors and directors are sure shot success formulas, as they bring out the best in each other, resulting in memorable characters and narratives. Despite all of my criticism against Mani Ratnam, it is true that the man also possesses a unique ability to churn out the exact performance required from his actors. No matter what issues I have with the aspects of the narratives he told, I cannot imagine any character from his movies being played by a different actor, until 2013.
After watching almost all the leading actors in
the movie, playing various underwhelming roles in a row now for years, it was a
joy to watch them display such strong performances. The best example in that
category is Karthi, who I believe is a director’s actor, as his most memorable
performances were with directors Selvaraghavan (Aayirathil Oruvan- my personal
favourite), PA Ranjith (Madras), Paruthiveeran (Ameer Sultan) and Kaithi
(Lokesh Kanagaraj). But when I heard him collaborating with Mani Ratnam,
unfortunately all I felt was the trauma that I had to endure watching ‘Kaatru
Veliyidai’. Before that, as an actor although I haven’t been a fangirl of
Karthi, I always admired his potential in the above-mentioned movies, but I
never took him for a bad one until I saw him as Varun Chakrapani aka VC. Apart
from the fact that VC as a character is deplorable to core and screenplay was a
total failure, somehow Karthi’s acting in that movie was just appalling.
Women in Mani Ratnam Movies
One of the other revered aspects about Mani Ratnam movies is his portrayal of women characters. I have heard multiple actresses wishing to be captured as a Mani Ratnam heroine and deservedly so, as his heroines consistently possessed a strong personality and are free spirited while being vulnerable and loving (until 2017). His female characters always had a visible job or passion and were determined along with the other requisites of the narrative which is normally how it’s supposed to be but unfortunately, the contrasting reality makes it indeed a quintessential part of his filmography.
Even in PS-1, the narrative indeed is set in a man’s world, but the woman are not mere pawns or love interests. In fact, they steer the core emotions, changing the course of history with their power and beauty. I believe this is a movie where he has intensely explored the grey shades of his female characters rendering such powerful characters on -screen.
As Kundavai, Trisha shines as the young princess of Chola Kingdom, who is decisive, intelligent and well-versed in the royal politics and her kingdom. While being all that, she is shrewdly against a non-royal succession to her dynasty, an aspect which will get explored more in the later part. Nonetheless Kundavai is kind and sensitive but equally an active part of royal inconspicuous strategies. The way how she creates a ruckus amidst the ministers who are conspiring against the kingdom is Kundavai at her best.
Nandini, one of the extremely important characters and is as described in the story “the most beautiful woman on earth” is portrayed elegantly by none other than Aishwarya Rai. Just like Karthi, I believe some of her best performances, have always been with Mani Ratnam and in PS-1, the belief stands. Nandini is complex inwardly, but maintains a composed exterior, while brewing storm around her. She uses her beauty to seduce men in power initially for survival and then to avenge. She is wounded but not volatile, her plans for revenge are set, but she also is ambitious to a stature, she was denied just because of her background.
The split scenes before and after the meeting of Periya Pazhuvettariyar (Sarath Kumar) and Sundara Cholan (Prakash Raj), shows precisely her intentions; her eyes that steers towards the throne, speak of a longing and pain that spans over decades, while the closing of the scene, where the throne merges to her stature, is just storytelling marvel.
AR Rahman & Mani Ratnam
I have mentioned this countless times, that I learned Tamil for understanding the lyrics of the impossibly soulful songs created by AR Rahman. I never believe any human to be divine but he is one person, I believe is bestowed with a celestial talent for music. Yes and of course I believe his best works were his early creations where even if the movie was underwhelming, it still was remembered for AR Rahman’s music. Many of such impactful songs were also a part of the Mani Ratnam - AR Rahman movies.
In the same combination, Ponniyin Selvan Part 1 music does
flawlessly compliment the narrative. I have always been a fan of how both of
them, seamlessly let the music fade in and out through scenes, mixing sound
effects and dialogues and that pattern continues here too. The background music
perfectly uplifts the scenes when required, like Kundavai’s and Nandini’s face
off or the fight sequence between Vanthiyathevan and Arunmozhi Varman. From the
soundtrack, my favourite is ‘Devaralan Attam' sung by Yogi Shekar, a great score
that will enchant you, all while describing the fervor of sacrifice, tales of
destruction caused and enmity provoked, leading to the impending doom of the
kingdom. ‘Alaikadal’ follows closely, a melancholically musical melody with a touch
of yesteryear boat songs sung by Antara Nandy.
Mani Ratnam- The master propagator of dangerous art
There is only up to a certain age or sensibility, where one can see movies as just that; One, because of the realities you witness with age and Second, because more than anyone else, the creators themselves holds true to certain agendas. More than anything else being a reviewer, you recognize the power of art from a whole different perspective and its impacts. Growing up, unaware of the backdrop of his projects, I have been a fangirl of the director Mani Ratnam for decades. That veil dropped when in 2017, he created the dreadful “Kaatru Veliyidai”; yup, too late, but better late than never. Mani Ratnam, the man who is lauded to capture the essence of romance in every decade, so aggressively tried to sell misogyny, manipulation and abuse as love, making the movie one of the worst on-screen romances ever. Knowing what I know now, it almost felt like he didn’t even attempt to hide the problematic narrative beyond for the music and visuals. That is when I started to distance myself and look at his movies beyond, as a critique.
Initial observations itself were shocking with the recurring occurrence of themes in favor of hyper nationalism that cloaks itself as righteous patriotism and the schooling and ‘secularizing’ the Muslims in the country to make them palatable for the predominantly Hindu masses. Sounds familiar to something that’s already rooted in the current scenarios of the country? Have a look at his movies beyond its beauty and romantic angles. From his ‘balanced approach’ during the ‘Bombay Riots of 1992’ to erasure of the anti-caste characteristics of the Dravidian movement, you will find tons of such convictions packed well and peddled to the audience. It was borderline sad to see how many aspects were twisted and presented for years yet a cult following allowed no criticism to pass beyond a threshold. While, he continued to propagate his affinity towards Brahmin-Savarna unions, force fitting mythological narratives to existing minorities and even crossing borders to appropriate Sinhalese nationalism where he villainized only Tamil Elam movement conveniently veiling Sinhalese fascism or the oppressing role of the Sri Lankan army.
May be the only nearly good thing about the outright fascist propaganda
movies like Kashmir Files and such is that it’s visibly easier to call-out
facts and propaganda. Creators like Mani Ratnam peddles such ideas in a more
subtle manner, wrapping it behind beautiful visuals and soulful music. I
am well aware that these aspects of his film-making are not going to change, especially
in the current scenarios but the least we could do is, as audience be aware and
learn more, to recognize such subtle promotions of agendas. Understand and move
beyond the baseless argument that movies are ‘just’ an entertainment medium,
they have potential to influence masses and condition them towards or against
anything, if done well and constantly.
My journey to understand and corroborate all this was also
hugely supported by possibly the only article critiquing Mani Ratnam online on
Huffpost Archive by Rajesh Rajamani.
Chola Reign & Kalki’s Interpretation
History as we learned from our education system offer little to learn about ancient kingdoms from South India like the Chola empire. For that one reason alone, movies like PS-1 deserves to be watched as it justifiably gives as a peek into the history, art and architecture, of such dynasties, thus generating curiosity and discussions, changing the way one sees the past.
The Chola Dynasty was a Tamil thalassocratic (a state with
primarily maritime realms or a seaborne empire) empire of southern India and
one of the longest-ruling dynasties in world history. Chola dynasty ruled from
850 to 1279 AD for more than 1500 years. At its height, the Chola Empire
controlled not only southern India and Sri Lanka, but also the Maldives. It
took key maritime trading posts from the Srivijaya Empire in what is now
Indonesia, enabling a rich cultural transfusion in both directions, and sent
diplomatic and trading missions to China's Song Dynasty (960 - 1279 CE).
It's no secret that popular narratives or history, from ages
are more often than not, the version of the winner or simply who held the power.
Kalki places his fictional storyline in the historical reign of Cholas sourcing
from historians like Nilakanda Sastry and Sadasiva Pandarathar, yet one cannot
ignore the purposeful glorification of the kingdom, conveniently ignoring the
darker stages especially of the later Chola period. From slavery for
constructions, caste hierarchy, heavy agrarian taxes to atrocities by power
holders, all that eventually lead to the fall of Chola kingdom and rise of Pandyan
dynasty, are blissfully absent. Granted the creative liberty of Kalki in
creating a fictional novel but as audience I believe it is also important for
us to know both sides of the history.
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