2021, Tamil, SonyLiv, 8.8/10 IMDB, Directed By M. Manikandan
An earthy premise that explores the placid livelihood of the gullible villagers and how the coercion of a simple law, topples their lives big time. The subtly in creating the awakening screenplay, an unique feature in all of Manikandan’s films, is yet another captivating experience.
The makers choose to unveil the story, through narrating the repercussions of a simple action of an illiterate villager. Director Manikandan’s agenda of incorporating significant social and moral issues in a spiritual wrap, has an interesting dimension to it, compared to his previous works.
The film opens to the daily routine of an elderly villager, with an echo of T.M. Soundrajan’s song on Lord Muruga, ‘Karpanai Endrallum Karsilai Endralum, meaning ‘Even if it is an imagination, even if it is a statue made of stone’. The song would have involuntarily made most of the Tamil speaking audience, recollect their nostalgic village experiences and I was left recalling the morning rituals at my dad’s grandfather’s village ‘Attaiyampatti’. An old song influencing the viewers to travel in time was astounding, the key being, ‘Synchronized Live Sound Recording’, which sets the right mood for the premise.
Each village have a character of its own and nothing can be more magical than showcasing the original inhabitants as actors, by training them to play key roles. Fables and folklore are inseparable from villages. So is this movie, as the screenplay concurs with mythologies. The director remains true to the spirit of the story he had chosen to tell.
Also tales relating to Gods and Ghosts are aplenty in the villages, and the maker touches on those tales with the Vijay Sethupathi’s character- a person whom many of us would have acquainted in the villages. The ‘Vibhudhi’-sacred ash, that he sprinkles on people whomever he meets, fondly made me remember the old man who blew ‘Vibhuthi’ on the face, thrusting a lemon fruit in the hand, while I was a kid.
The crux of the movie revolves around a lightening struck tree, a bad omen and the villagers trying to commence the stalled annual festival- a cliche in many retro rural movies. But the innocence of the real-life first time actors, makes it an unique experience. The pooja requiring freshly grown paddy and newly made horse deity, makes the story move forward, making it a compelling watch.
The protagonist of the story, Mayandhi, is the only farmer in the village who has the means to grow paddy, as many others had sold their farm lands. Mayandi’s paddy growing rituals, entices us to indulge in farming. Similarly the rhythmic hand movement and expertise of the potter, who begins to make the deity, is equally attention grabbing. The intriguing ritual of making miniature idol out of the clay, before he starts spinning the wheel, was surprisingly similar to my mom keeping a tiny pinch of the ‘Muruku’ dough on the gas stove, to represent Lord Ganesh- a form prayer before her elaborate festive cooking. I felt it was the director’s tribute to commemorate the dying rituals of farming and the forgotten art of living of our forefathers.
Among many metaphors, Yogi Babu’s character is a satire that haunts. He sells his farming land to buy an elephant to make a living. A shocker that reflects on how mankind is evolving, blame it on – global warming, changing farming practices, low yielding crops, falling crop prices or the attractive jobs other than farming wages.
Mayandi, played by Nallandi, has a poignance to his character. His old age evokes sadness and his innocence emulates positivity. His selective hearing reminded me of my parents. When he is remanded in prison, his thoughts on, how farming is a simple-act of making the ‘right elements meet’- is sure to uplift the spirit of many youngsters. It raises our hopes that, the inherited farmland by many, may not be converted to building sites, after all.
The Court Magistrate played by Raichal Rebecca, is another riveting character. Through the polite gestures of the magistrate’s character, the director recognizes the hard work of the farmer community and offers a salutation to the untiring humans that they are.
The penultimate scene, intensely captures the grief stricken Mayandi, resting on the bench, after visiting his dying crops, hours before he is released. Even if it is completely unrelated to the storyline, the news clippings of damaged crops, due to natural calamities, keeps flashing. The heart wrenching reality and the pain in the eyes of those farmers with rotten crops in their hands, eerily starts translating.
An interesting attempt that envelopes the true essence of the rural people’s lives and a delightful reminiscence.