2022, Tamil, 8.9/10 IMDB, Directed by Mani Ratnam
The Tamilar’s veneration for the literary work that they take pride in, vehemently documented through adept marshalling of unprecedented ‘closer to life aesthetic’. Expedition of ‘real-life historical structures’, capturing their cultural milieu and a persuasive casting, leaves the audience enchanted. Despite few narrative tweaks and creative liberties for visual compatibility, the adaptation stays true to the author’s intent and the viewer’s imaginative supposition.
The litmus test for any adaptation is to identify the visual significance of each plot point, so it could justify its presence on the screenplay, only to push the narrative forward. PS-I convincingly cast off few subplots and relinquish few characters, yet travel seamlessly, exhibiting the intrinsic nature of the original novel.
The novel’s success lies in its multitude of characters, each one with a definitive set of traits. The actors are exquisitely convincing in each of their roles, as they come alive onscreen. The fact that the story is an historical fiction, the narration steers clear of any fantasy elements. The grandeur, ironically is in its minimalism- through a glimpse of the spellbinding ‘human facets’ of those big names, straight from of our history textbooks.
Historical dramas in Tamil Industry, like Veerapandiya Kattabomman are things of the past. PS-I rightly ventures to stimulate our instant gratifying generation, to take a deep dive into our literary roots. The authenticity in the making, leaves the viewers in a constant awe. Our mind fails to find parallels from all the fantasy realms, like the ‘Game of Thrones’ and ‘The Lord of the Rings’.
Aishwarya Rai’s crafty yearning, Vikram’s remorseful longing, Karthi’s innocent inquisitiveness, Trisha’s undaunted confidence, Ravi’s benevolent valour- the actors exceptionally execute their roles justifying the author’s imagination.
The market chase sequence of Vanthiyathevan, reminds that of Aladdin’s ‘one jump ahead’, but the realism in the visuals, translates the pain in Karthi’s rocky fort wall jumps or the narrow alley falls. The actor scores in all his acquittance shots with the female leads. Be it the trance when he meets Nandhini in close quarters or the credulous smile on meeting Kundhavai for the first time or his flirtatious equation with Poongulalai in the middle of the ocean- Karthi’s innate lucidity, precisely amplifies his portrayal of the, most sort after character in the novel.
Aishwarya Rai as Nandhini, emotes through deep focuses in her eyes- seduction on its foreground, suppressing her love for Adhithya in its middle ground and an undying hunger for revenging the betrayers in the background of her bloodshot eyes.
The synergy between the powerful character Kundhavai and the actor Trisha who plays the part, delivers a magic on-screen. The actor’s personal traits are in perfect sync with the on-screen character helping her nail it with ease. Her smirk on seeing Vandhityadevan, her disregard for Nandini, her sibling rivalry with Adhitya, her decisive participation in polity, spreading her protective wings around her friend Vaanathi, extending motherly warmth towards her invalid father- Trisha does it all with her head held high, not in pride but in confidence, which is true to the character she plays.
Vikram plays, Aadhithya, a confused guilt tripper, withdrawing from his unsuccessful love, shifting blames and besieging cities for wrong reasons. Resemblance to his ‘Raavan’ character, inevitably clouds his performance discharging it as repetitive, but the actor’s valorous prowess and fury are engrossing.
The one actor who surprises, is Jayam Ravi, whose subtlety is a striking contrast to the other characters. The actor diligently erects a persona of a controlled thinker with great clarity in his thoughts, constructively shaping our perspectives of the Raja Raja Chola’s early life. The actor’s moderate musculature, his variational strength in tone, his serene yet stern eyes, his unassuming kindness- it’s a revelation for both the actor and his character.
The fabled music score and consequential camera work, compliments the performances, extending the viewers a strong emotional connect with the lives of the royals. The screenplay makes the royals climb down their pedestals to be one among us, making their responsibilities ours, to protect the Chola kingdom from the traitors.
The nail biting mid-ocean stunt choreography of the Prince Arulmozhi and Vandhityathevan’s fight with the Pandiya sympathisers in the twenty minutes, leaves you content, especially when AR Rahman tries to recreate magic, by echoing the scores of MS Vishwanath from legendary MRG movies.
We walk away with a positive note- ‘Who saved the Prince? The splendour of the story is fittingly justified in the onscreen version, the key being minimal green screen VFX compositions. The narrative and visual realism, were reminiscent of our imaginative world of the Chola Dynasty.