Papanasam: A Superlative Act

Well, I haven't watched the Malayalam original and it is perhaps a good thing. It allows me to see this movie as an independent act, without any preconceived baggage or comparison. To start with, one thing you know about Kamal Hassan movies - nothing is unintentional. Every place, name and element has a significance, the essence of which we realize only as the film rolls. Papanasam gets its name from the very location where the entire movie has been shot and asides the picturesque rustic scenery, the name of the town also provides the perfect allegory to this riveting tale.

Kamal's name in the film is another example. True to his name, the cinema-loving Suyambulingam is a self-made man (he himself mentions it a couple of times throughout the film) and is respected in the town for this very reason. There is one similarity between this film and Kamal Hassan's last release, Uttama Villain - both give us insights into the real actor. In this film, we have his real-life partner Gautami playing his wife (making a comeback after 16 years) and much like in his life he plays a father to two daughters onscreen. There are also references to his 1975-film Cinema Paithiyam, brother Charu Hassan and Kadhal Manan.

Papanasam, by the look of it, is a simple story of a father who will go to any extent to protect his family. Kamal plays the thrifty cable-TV operator whose life revolves around cinema and his family. He breathes, lives and dreams cinema, and it is this love for movies that actually comes handy later in the film. The only other constant in his life are the daily visits to the local tea shop and random conversations with its owner, played by M.S. Bhaskaran. The early part of the film focuses on the bond between the family members and gives us enough glimpses into the sweet-salty relationship between the father and the daughters (played by Nivetha Thomas and Esther Anil) through scenes that have been taken out of our homes. The romance between him and Gautami brings alive their offline chemistry. In all, it is a picture perfect family.

But then the film is also about another set of parents (Ananth Mahadevan and Asha Sharath) who leave no stone unturned for their son's sake. And what turns this family script into a seat-clincher is how the drama unfolds between these two families. Throw in the police element and we have a potboiler in hand.

The strength of the film lies in its layering. Each time a layer is revealed, it seems like all cards have been played out. But then with time there are more layers and more surprises, taking it right up to the climax. There is also a certain openness about this film. No judgments made. No higher moral ground taken. No one is all black or white. Every character is painted grey, including Kamal himself. To think of it, Suyambu does everything that we associate with a villain in any film, and yet he comes out as a hero. All kudos to Jeethu Joseph for etching such characters.

Talking about Kamal Hassan and acting is like talking about cinema itself. Even his naysayers cannot deny him of the actor that he is - a powerhouse. Even decades later, his ability to turn himself into the character completely is remarkable. Here as the middle-aged Suyambulingam, who willingly spends on his family but fixes his own broken specs with a wire or refuses to purchase a mobile phone for himself, Kamal is right where he belongs. The character gives him all the space that the actor within him needs, along with the necessary theatrics. While Kamal gives the film the edge, what lends it the class is the performance of the entire ensemble of cast. When each performer gives you a superlative performance, the entire act goes one up. Not a single character is wasted and each do what they best can.

There are no loose ends, and no irrational scenes. By the end of it, all your questions are pretty much answered. Except one. As the famous line from Nayagan goes, "Neenga nalavara, illai ketavara?" This is something that the movie chose to steer clear of. And that is the best part about it.

By Mangala Ramamoorthy

Papanasam: A Superlative Act

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