Bharathi Kannamma

            Cheran has been one of our important filmmakers in recent times.  He has been one of the pioneers of meaningful cinema, crafting well-told tales that address evils plaguing our society.  With the exception of "Vetri Kodi Kattu," all his other four films starting with his debut feature, "Bharathi Kannamma," have been purposeful, unpretentious, gut-wrenching features.  "Bharathi Kannamaa" is an unforgettable tale of caste tensions and sibling affection that unfolds slowly in a natural, unassuming way, gaining momentum in the second half and ending with a surprising, shocking climax that is completely successful in driving home the message.

            One of the strikingly common aspects between this movie and the Bharathiraja classic "Vedham Pudhidhu" is the theme of humanity over everything else including caste based fanaticism.  Both Bharathiraja and Cheran know that one of most effective ways of making a statement is to pose a question and give us a point to ponder.  By making the very likeable key players in the movie victims of what could even be called an inadequacy of our society, they make us think about the futility of anything that manages to sneak past humanity in the race of life.  And Cheran, the auteur he is, adopts a unique approach in addressing this theme--while Bharathiraja's lyrical approach made us appreciate the beauty in his reverie, Cheran's down-to-earth attitude in presenting characters and events brings in a sense of urgency to the plot.

 

"Bharathi Kannammaa" begins with a short, very effective sequence that shows the aged Vijayakumar character as being self-sufficient.  He does the things that people of the so-called "lower caste" are supposed to do.  These are people that once served him and are totally stunned by this change of attitude.  The reason behind this is narrated in the running time of the movie that functions as the flashback for Vijaykumar.

 

Vijaykumar, belonging to the Devar community, is the panchayat chief and is respected by one and all.  For all his good heartedness, he is the epitome of caste consciousness and has his own rigid rules about caste divisions.  He respects the other castes but also conforms to the age-old traditions of divisions and protocol that come with the bane called 'caste.'  His daughter Kannamma (played by Meena) loves her childhood sweetheart Bharathi (Partheban) who is the loyal servant of Vijaykumar.  Bharathi, belonging to a lower caste, finds it impossible to reciprocate her love as it would come at a heavy cost—his loyalty towards Vijaykumar.

 

The two other crucial characters are Bharathi's sister (Uma) and her love interest (Raja).  How these people's decisions are affected by caste divisions is what "Bharathi Kannammaa" is all about. 

            R. Partheban's career was slumping downhill with unbelievable speed with one disaster after another when this movie rescued him and provided impetus for what has been a rebirth for him as an actor.  It was arguably this movie's success that convinced him that he had the talent to venture into daring, artsy movies ("Housefull" fetched him a National Award).  Instead of the "movie's success," I should probably say "the success of his performance" because it is one of the most complex roles played by any actor in recent years.  Bharathi tries to be loyal to his 'Aiyya,' be protective of his sister and be faithful to the girl who pines for him.  Though we have seen several movie characters portray one or two of these facets, the genius in the characterization of Bharathi is that, these three facets inexorably affect each other.  His relationships with these three people are so inextricably intertwined by the bonds of love and loyalty that his mind is in a constant dilemma.  Partheban brings in all his talent in dialogue delivery and body language to essay this character.  He is brilliant in the scene where he calmly explains to his sister by saying, "Saami-liyae keezhsaadhi maelsaadhi-nu paakara indha manushanga..." It is one of the most effective dialogue pieces in the movie and brings to the forefront the heartburns of these characters and how social norms demand they bury their feelings.

            Meena, in a career-defining role, is excellent as Kannammaa.  By conveying the raw emotions of the Kannammaa character with her eyes and facial expressions (her wounded soul is so well projected in the scene where Parthiban treats her [physical] wounds) she makes us empathize with her predicament.  Uma, an underrated, under-utilized character actress provides able support to Partheban and Meena, without losing a wee bit of authenticity or conviction.  Vijaykumar indulges in his patented, theatrical style but is assured throughout, highly successful in the climax, conveying the 'humbling' moment of the character.  Vadivelu is side-splittingly funny in his encounters with Partheban, both players having perfect timing.  Partheban's deadpan expressions while asking him explanations of cliches and his dumbfounded reactions are the stuff of legends!

            Deva tunes in three pleasant numbers--"Chinna Chinna Kannammaa," "Thendralukku Theriyumaa" and "Poongaatrey...Poongaatrey" all have good tunes coupled with meaningful lyrics.  Kichaas' camerawork is good but not nearly as pleasing as B. Kannan's work for Bharathiraja that used to capture the beauty of villages in all their glory.