Ponniyin Selvan II

April 2023, Tamil, IMDB 8.4/10, Directed by Manirathnam

Documenting visuals to the largest selling novel of the Tamil community, is an arduous task in itself. But the ace team manages to draw the curtain down on the part II, with a bang. In the process it elevates the novel to newer heights, amidst few creative liberties on the silver screen. Manirathnam’s signature shot compositions delivers an untold reminiscence of the craftsman’s career. It beautifully parallels the reader’s nostalgia as well, as the novel is the pride of the Tamil literary heritage.

While reading stories that are narrated from the angles of multiple plot points, we are left to hangover in the previous chapter’s occurrences whilst reading the subsequent chapter’s plot. When PS II is unveiled, our dynamic sense organs are ready. From smelling the cool ocean perfume, to hear the roars of the thunderstorm, to even taste the salinity. We await to witness in detail, the silver haired Nandhini ‘look alike’, to save Arulmozhi from the deep end. We expect the visuals to leave us experience the ‘goose pimple moment’ in all its excitement.

The director chooses to cut our imagination short and skips chapters to the ‘static grief’ of the kith and kin to maintain it a surprise for the audience who haven’t read the book. It sets back the expectations of Ravi Varman’s underwater camera work and Manirathanam’s shot choreography.

The team decides to begin the part II with the reiteration of Nandhini’s pain, which apparently lay foundation for the fictitious plot, and vital from the story-building perspective of Manirathnam. It does sadden the adventure mongers, who had dreamt of a continuity, through months of wait, with bated breath.

The complex storyline of the novel with swarming subplots, to be briefed for adaptation purposes, is always a walk on tight rope. It may easily drift away from the ethos of the original. The writing team does a remarkably good work in condensing the plot by merging a few and omitting a few. The beauty is, the master director’s add-ons, creatively tucks the audience by their reigns, for a few fresh surprises, as the director dons his ‘love forte’.

Karthi and Trisha’s Vandhiyathevan and Kundavai, are blessed by the director’s story extensions in PS II. But the showstoppers are Nandhini and Aadhithya. Director’s opening arrangements, now makes more sense. Those lengthy prologue dedications were meant to hint the audience on the different narrative standpoint different from that of the novel’s. Nandhini’s and Aadhithya’s voices and emotions are the loudest. And the duo, surpasses their familiarity, from their Ravanan days, to deliver in freshness, the love-hate relationship. They stay true to their characterization in the print form as well.

The ensemble with their introduction done already in part I, dives straight into action with less scope for comedy or sarcasm. Few exceptions, like the conversational creativity in Aadhithya’s, expressing his dis-approval of the ‘old’ Periya Pazhuvettaiyar for marrying his childhood love interest, Nandhini.

The scene where Karthi ‘love-talks’ with his eyes tied. The director asserts- all an actor needs is the commitment in convincing the audience. And Karthi does the magic with his expressive eyes, all closed.

The novel, sports a concoction of ambition, treachery, bravery and friendship. The movie dwells in all of the above with a vocabulary of its own to suit the visual compatibility. Also the need for a clarity in its narration for the benefit of the non-readers, are duly accomplished by simplifying its complexity.

Manirathanam’s efforts are commendable. And so is the production house’s, for aiding the director realize his dream project.

Vikram’s ‘Paata’, ‘Thatha’ sarcasm working on the reigns to keep his horse from trotting, Aishwarya’s bewildered ocean deep eyes, Karthi’s naivety in swapping roles of a hero and a comedian, Ravi’s swag in its own subtlety, Trisha’s sibling concern and expressive dutifulness- there can’t be another for each of their roles in the Tamil industry.

A tribute to Manirathnam’s movie making style, by cinematographer Ravi Varman is evident in many sequences, that reminds fondly the legend’s previous masterpieces. In her introduction, Sara Arjun who plays the young Nandhini, reminds the ‘Kunitha puruvamum’ song from, ‘Thalapathi’ moviehttps://www.youtube.com/watch?v=6478pdqRjw8. Prakash Raj’s top angle shot with Trisha while he narrates Mandhgini’s story, reminds of ‘Iruvar’ movie’s shot with Tabu in his arms https://www.youtube.com/watch?v=287R_zugj9o. The ‘Idhayathai Thirudathey’ kind of motion capture in Nandhini and Aadhithya’s final scene, where they battle out their overwhelming love for each other, except the emotions are uniquely different in both instances.

The sibling trio’s bonding sequence in the buddha vihar is an intricate scene. The three actor’s unconventional close ups, all three facing different angles, profoundly captured that one’s angle doesn’t hinder the other from showcasing their prowess.

Prakash Raj, holding the lifeless body of ‘Mandhakini’ Aishwarya’s and yet her eyes sparkling with ‘much’ life in it, sheer magic.

Like the first part, I enjoyed it even better on my second watch, as I was seeing the movie from Mani rathnam’s perspective and not through the author Kalki’s vision like I did on my first day. Actor Jayaram and Karthi, tries their best to squeeze in few laughs as Nambi and Vanthiaythevan. But as the screenplay is tightly packed with twists and turns, the audience’s amusement is quickly silenced as the duo engage on serious missions themselves. The audience were pin-drop quiet throughout the nearly 3 hour screening, even on the opening day’s show. A sign of reverence to both the novel and the director’s meticulous detailing.

A. R. Rahman’s references to MS Vishwanathan and G. Ramanathan’s work from the 50’s, beautifully marries the ethnical lyrics of Illango Krishnan’s. Rahman reinvents himself and his background score is in mystic sync with the 10th century’s rustic visual backdrops.

The ambition and devotion of the crew is justified by the seamless screenplay and its execution, thanks to co-writers Jeyamohan and Kumravel for skimming the novel to the onscreen version. The two part masterpiece, is sure to remain in the Tamil’s treasury just as the Novel did for nearly seven decades.