When a director debuts with a movie like Sethu, it is
impossible not to look forward to his subsequent efforts
with anything less than complete enthusiasm. Bala's
next effort Nandha was well-made but more than a little
disappointing compared to its predecessor. But the
director has regained a lot of the lost ground with his
third effort Pithamagan . With unique characterization,
tremendous performances and a smooth screenplay, the
movie offers a satisfying experience to the discerning
viewer willing to go along with its unhurried pace and
stark, serious storyline.
Sithan(Vikram), the undertaker in a cemetery, is a social
outcast with no contact with the civilized world. Into his
life comes Sakthivel(Surya), a fast-talking, glib
fraudster. The two first meet in jail, Sithan ending up
there due to his association with the owner of a large
ganja farm and Sakthi, due to being caught redhanded
in his latest fraud. Gomathi(Sangeetha), a goodhearted
ganja seller cares for both of them while Manju(Laila) is
the one responsible for landing Sakthi in jail after being
at the receiving end of a few of his capers. When Sithan
realises that another soul exists in the world to care
about him, his world begins to revolve around Sakthi
too.
Through Vikram, Bala creates one of the most unique
characters in Tamil cinema. The role of the undertaker,
cut off from the world and with only corpses for friends,
is wonderfully designed. Only a very thin line separates
Vikram from being an animal and Bala stresses this at
several points throughout the movie. When we see
Vikram growl, beat up anyone who as much as lays a
hand on him, charge through the forests and provide
undying loyalty to the person who cares for him, we
realise that Vikram is a human being only physically.
The way he deals with Mahadevan in the end confirms
this. The way Bala has shaped the character is a
triumph.
Movies about friendship have been many in Tamil
cinema but I cannot recall one about friendship between
two such mismatched human beings. The bond between
Vikram and Surya is almost poetic and is developed
smoothly and naturally. The situations that bring the
two closer together are in keeping with both their
characters and every emotion, be it Surya's agony at
the act Vikram performs without realising its magnitude
or Vikram's silent discomfort at Laila's closeness with
Surya, is brought out naturally. And Bala never misses a
chance to bring a smile to our lips either. The way
Surya uses Vikram's instinctive anger to snap at others
is always funny.
The relation between Surya and Laila, which had been
developed so wonderfully during the tiffs between them,
loses all its believability the moment she falls in love
with him. And the reason she falls for him? Because he
didn't choose to escape by ripping her dress off
embarassing her! And her family, which seems so
protective of her when she put Surya in jail, is nowhere
in the picture as she seems to spend every moment
with him. The climax drags on a little too long. While
that by itself is no crime, it seems designed to
showcase Vikram acting talents rather than for a valid
reason. And the end itself has Sethu's shadow hanging
over it.
With such strong characters and a character-driven
storyline, the movie's success or failure depends on the
performances of its actors. And every performer in
Pithamagan , whether in a big or small role, responds
beautifully. Vikram pretty much lives the role of the
undertaker. With dry and streaked hair, dirty teeth and
torn clothes, he looks the part and though he doesn't
utter a word (except for the song that accompanies
every cremation), he conveys everything through his
expressions and body language. Just the way he runs -
arms stationary - is a sight to behold. In direct contrast
is Surya, who is pretty much the life of the movie. The
usually quiet actor exhibits a different persona and
succeeds remarkably. His monologues make us laugh
every time and his affection for Vikram is entirely
believable. Laila, who has been one-dimensional is all
her movies so far, shows a lot more range here. Her
high-pitched screams, accompanied by lying down and
flailing her arms and legs, are very funny and she gets a
change to emote in the later portions too. Sangeetha
(formerly Rasika) creates a sympathetic character while
Mahadevan is makes us cringe with his cold-
bloodedness.
Ilaiyaraja adds unmeasurable strength to many of the
scenes with his background music. Ilankaathu
Veesuthu... is a wonderfully melodious number and is a
welcome relief from recent songs that have all tended to
sound the same. Adadaa... and Piraiye... are more
philosophical but contain some wonderful lyrics. Simran
has a rather different 'item' number where she dances
(along with Surya) to a medley of old songs
impossible not to look forward to his subsequent efforts
with anything less than complete enthusiasm. Bala's
next effort Nandha was well-made but more than a little
disappointing compared to its predecessor. But the
director has regained a lot of the lost ground with his
third effort Pithamagan . With unique characterization,
tremendous performances and a smooth screenplay, the
movie offers a satisfying experience to the discerning
viewer willing to go along with its unhurried pace and
stark, serious storyline.
Sithan(Vikram), the undertaker in a cemetery, is a social
outcast with no contact with the civilized world. Into his
life comes Sakthivel(Surya), a fast-talking, glib
fraudster. The two first meet in jail, Sithan ending up
there due to his association with the owner of a large
ganja farm and Sakthi, due to being caught redhanded
in his latest fraud. Gomathi(Sangeetha), a goodhearted
ganja seller cares for both of them while Manju(Laila) is
the one responsible for landing Sakthi in jail after being
at the receiving end of a few of his capers. When Sithan
realises that another soul exists in the world to care
about him, his world begins to revolve around Sakthi
too.
Through Vikram, Bala creates one of the most unique
characters in Tamil cinema. The role of the undertaker,
cut off from the world and with only corpses for friends,
is wonderfully designed. Only a very thin line separates
Vikram from being an animal and Bala stresses this at
several points throughout the movie. When we see
Vikram growl, beat up anyone who as much as lays a
hand on him, charge through the forests and provide
undying loyalty to the person who cares for him, we
realise that Vikram is a human being only physically.
The way he deals with Mahadevan in the end confirms
this. The way Bala has shaped the character is a
triumph.
Movies about friendship have been many in Tamil
cinema but I cannot recall one about friendship between
two such mismatched human beings. The bond between
Vikram and Surya is almost poetic and is developed
smoothly and naturally. The situations that bring the
two closer together are in keeping with both their
characters and every emotion, be it Surya's agony at
the act Vikram performs without realising its magnitude
or Vikram's silent discomfort at Laila's closeness with
Surya, is brought out naturally. And Bala never misses a
chance to bring a smile to our lips either. The way
Surya uses Vikram's instinctive anger to snap at others
is always funny.
The relation between Surya and Laila, which had been
developed so wonderfully during the tiffs between them,
loses all its believability the moment she falls in love
with him. And the reason she falls for him? Because he
didn't choose to escape by ripping her dress off
embarassing her! And her family, which seems so
protective of her when she put Surya in jail, is nowhere
in the picture as she seems to spend every moment
with him. The climax drags on a little too long. While
that by itself is no crime, it seems designed to
showcase Vikram acting talents rather than for a valid
reason. And the end itself has Sethu's shadow hanging
over it.
With such strong characters and a character-driven
storyline, the movie's success or failure depends on the
performances of its actors. And every performer in
Pithamagan , whether in a big or small role, responds
beautifully. Vikram pretty much lives the role of the
undertaker. With dry and streaked hair, dirty teeth and
torn clothes, he looks the part and though he doesn't
utter a word (except for the song that accompanies
every cremation), he conveys everything through his
expressions and body language. Just the way he runs -
arms stationary - is a sight to behold. In direct contrast
is Surya, who is pretty much the life of the movie. The
usually quiet actor exhibits a different persona and
succeeds remarkably. His monologues make us laugh
every time and his affection for Vikram is entirely
believable. Laila, who has been one-dimensional is all
her movies so far, shows a lot more range here. Her
high-pitched screams, accompanied by lying down and
flailing her arms and legs, are very funny and she gets a
change to emote in the later portions too. Sangeetha
(formerly Rasika) creates a sympathetic character while
Mahadevan is makes us cringe with his cold-
bloodedness.
Ilaiyaraja adds unmeasurable strength to many of the
scenes with his background music. Ilankaathu
Veesuthu... is a wonderfully melodious number and is a
welcome relief from recent songs that have all tended to
sound the same. Adadaa... and Piraiye... are more
philosophical but contain some wonderful lyrics. Simran
has a rather different 'item' number where she dances
(along with Surya) to a medley of old songs
There are a lot of speculations about
Venkat Prabhu's next with Suriya. The
film has Suriya, Nayanthara and Amy
Jackson playing the lead and Yuvan
Shankar Raja scoring the music. Since
Suriya is on the verge of completing his
project with Lingusaamy, Anjaan, he is
likely to start Venkat Prabhu's venture
soon.
The latest we hear about the film is that
it has been titled Poochandi. Considering
Venkat Prabhu's love for comedy, there
are expectations that the film will be
laced with humour and comedy. If it's a
horror comedy, which has been well
received in the recent past, it is sure to
do well at the BO. However, there has
no official confirmation, yet.
Venkat Prabhu's next with Suriya. The
film has Suriya, Nayanthara and Amy
Jackson playing the lead and Yuvan
Shankar Raja scoring the music. Since
Suriya is on the verge of completing his
project with Lingusaamy, Anjaan, he is
likely to start Venkat Prabhu's venture
soon.
The latest we hear about the film is that
it has been titled Poochandi. Considering
Venkat Prabhu's love for comedy, there
are expectations that the film will be
laced with humour and comedy. If it's a
horror comedy, which has been well
received in the recent past, it is sure to
do well at the BO. However, there has
no official confirmation, yet.