2023, Tamil, Theatrical Release, 9.2/10 IMDB, Directed by S. U. Arun Kumar
An unprecedented perspective, of a rarely explored relationship, in a premise that sadly, rather ‘unfortunately’, takes inspiration from our dailies. A honest initiative that surfaces the emotional dilemmas of the victim’s kith which demands ‘bond realignment’, while the victim ‘resurrects’ herself or himself.
When we discussed the movie ‘Gargi’ in our film group ‘Reelfeelers’, a doctor friend in the group was cross with me, saying he couldn’t assimilate the fact that the film was cautioning the children about their own fathers. He feared the damage such cautions would do, to the sanctified father-daughter relationships.
The movie actually picks up from where Gargi left. The flawless naivety of a youngster and his bond with his brother’s posthumous daughter, is the crux. Even though the story revolves around the innocent victim who falls prey, the psychology of repeat offenders, the child abuse pattern, understanding friendship and the tiresome job of cops, the director chooses to focus on the title character’s perspective- The Uncle, Chitahh, short for Chitappa in Tamil (father’s younger brother).
In real life, many were left startled, to hear stories of men, whose lives were toppled due to the misuse of ‘Me too’ Movement. When celebrities across the globe stood ‘Cancelled’ because of random women’s malicious accusations with no proof attached, many were left speechless to witness how those celebrities had to pick themselves up and build their lives all over again. These thoughts kind of eat your brain as we spectate the associated pain of the on-screen character Eeswaran alia Eesu, played by a terrific Siddharth. His character’s arc has been beautifully crafted, documenting child upbringing factualities, that a young parent should watch out for, in current scenario.
Siddharth, showcases all possible attributes of an overtly cautious parent, oozing with love and protection. The narrative captures his bond with his brother’s wife and her eight-year old daughter so organically, that the thought that Sundari, not being his biological child, never crosses the audience’s mind. The makers had banked on actor Siddharth’s innate innocence that permeates honesty in every gesture of his. And the actor triumphs unabashedly, a clear winner, capturing many hearts, as he did nearly two decades ago in Ayudha Ezhuthu. The actor seems to have interpreted the character’s essence and the director’s vision, just in right proportions. He beautifully displays rich nuances while portraying the character’s emotions at various levels. This role has elevated the actor to newer heights, as his acting skills seems horned many folds. He fits the proposed character, Eesu in perfect sync to the writing. It is homecoming for the actor, who seems all set for another innings.
The female lead Shakthi is played by a fantastic Nimisha Sajayan. Her character is etched as a sample to the huge population of child abuse victims, who have learned to pacify their own wincing self over the years. She has evolved as a thick skinned strong being, amidst the vulture-eyed men in the society. Her intersection with Siddharth’s character at the right juncture to make him realize his mistake in wanting to avenge the antagonist, adds more power to the screenplay. After all, Her’s is a strong representation of similar victims, for she herself is a brave survivor of child abuse. Her lament on how, she as a victim was left to cringe, while the offender walked with his head held high, is sure going to help many real-life victims, to raise their voices against these ruthless exploiters.
Sahasra Shree as Sundari alias Settai, Siddharth’s niece, does a fine act and so did the sister-in-law character by Anjali Nair. Actors who played Sidharth’s friends were super casual and spot on. The little girl, who played Ponni, was note-worthy.
The director calls attention to major red flag signs in today’s parenting, as the children have begun to mimic adults, through their gluing screen time and gaming addiction. While mobile phones have broadly substituted children’s toys, the maker emphasizes the irony that the very same addiction comes handy to parents, in either keeping the hyper busy bodies occupied or as a family bonding exercise. The director Arun Kumar, befittingly addresses this on a casual note in the opening scene where Siddharth woos the child to come out of her playful hiding. But later the director demonstrates the intensity of its danger, through a scene, where all that a mother had to do is, give the mobile to her daughter, even in a life-threatening situation, which acts a cue to make the child obey her orders. Eventually predators lure children using same sparkling screens.
One is absolutely convinced that the lead characters are going to be hailed for being role models in parental upbringing. They sure are to become mentors for the new age children, by warning them about the world that is infested with molesters and rapists, all forms and shapes. I personally even went to an extent of imagining the movie being screened in every school auditorium. Sadly, the movie derails to a vigilante revenge mode, shifting the blame on the shortcomings of the system and the bureaucrats who failed to nab and punish the offenders, gravely.
The justice-yearning director, let me down, while he chooses to deviate from arriving at a constructive solution, and rather makes the hero ‘an anointed one’, to eradicate offenders of all kinds- petty to heinous. Nevertheless, the movie effectively speaks ‘For’ all the men out there- The Fathers, the genuine Chithhas and the Uncles, as the lead character represents their emotional trauma, when their love for their children are accused and indicted.
The screenplay also throws light on the fact that the children are left confused to differentiate the ‘touch’ of the loved one from that of the offenders, and the ‘good and bad touch’ pattern, seems a broad spectrum. Siddharth, bathes and dresses the child since the day she was born, presumably till present day when she is eight years old. And he also pampers the friend’s niece Ponni of similar age, by carrying her, feeding her and bonding with her. Suddenly, the girls are left on their own to differentiate between similar touch of a molester’s and that of their loving uncle Siddharth’s. Nimisha’s character Sakthi, also quotes that she begged her molester ‘Uncle’ to show mercy on her when she was in her teens. Now one is left to ponder on how the children are expected to associate, which of the ‘uncle’ is a criminal and which one is not.
Our dailies report on biological fathers molesting their daughters and our statistics alarms that 90 percent of child abuses happens within family. One is left to sympathize these children who are left with a huge task of differentiating good from evil. The makers choose to emotionally address the issue. Both Sundari and Ponni, the traumatized girls on varied levels, for a period of time after the incident, despises the touch of uncle Siddharth. But eventually when they heal with time, they extend the same love and affection to him, as before. It was a magical moment on screen, no doubt, but there seemed a void.
Going back to the doctor friend’s question I began with, the makers of Chitahh addresses the pains of fathers who claimed movies like Gargi alienated them from their own children. But these elite dads make just a minimal percentage of fathers of our country. Sadly the ‘not so elite children’ are left to fend for themselves in the jungle-life of theirs, where most of the time the family turns a predator.
I shall wind up with few of the many questions that I was left to search answers for after the credits rolled. Should there be norms on an ‘imaginary boundary’ like in the olden days, between the parents and their children as they grow older? Like the father baths a girl child but asks her to wash her private parts herself, a mother baths a male child and educates him to wear his undies himself? Men folk usually were not encouraged to let girl children sit on their laps, especially when they are in their casual clothes. Will that keep the children alert enough to easily identify offenders when he crosses those boundaries, that even family and uncles are not allowed to? What is the right age to maintain such ‘not to be crossed boundaries’ with a child? Fathers and uncles talking to children on possible molesters in societies – will that do the trick or will it do more harm than good? Are only mothers responsible for educating her child about these sexual predators, from a very young age? When both parents are working, and when a father is often left to play mother’s roles, with these imaginary boundaries and limitations, how can a father create magical moments with his child, like Siddharth’s character in the movie?
The success of these kind of venture, lies in these many questions that we are left with after we watch the film. It is an awareness in itself. Kudos to the team.