“Gowravam”

 

            Certain movies stand the test of time and never get dated.  Movies made by visionaries like Mani Rathnam and Balachander never seem to belong to an earlier era.  Their styles will always remain fresh and would challenge any aspiring filmmaker say 25 years from now.  But certain movies do seem dated when viewed now.  There are movies that seem to be awkward or outdated because they were made within the framework and style of movie making of that era.  “Gowravam,” a great movie with a remarkable character played by thespian late Sivaji Ganesan doesn’t fall into either category.  Yes, the theatrical style of many scenes, the acting style of the players, the way the songs have been picturized and even the background music, all seem passé.  But the movie’s strengths—its strong theme, forceful dialogues and Sivaji’s intensity—drive home the point that a classic remains a classic irrespective of time.

 

            “Gowravam” is the story of a proud, arrogant and flamboyant lawyer Rajnikanth (Sivaji) and how he, by the turn of events, is pitted against his own ‘son’ Kannan (actually his brother’s son who thinks the world of him and vice versa.  His brother had passed away when Kannan—also played by Sivaji—was young) in a criminal case.

 

            The movie spends almost two thirds of the running time in establishing the characters for the final showdown.  Rajnikanth takes up the case of a criminal Mohandass, because he (the barrister) was passed over for the post of Justice.  Rajnikanth, wanting to display his talent and how he can win any case with his dedication and excellence as a lawyer, takes up the case and wins it.  All good until now…but Mohandass is accused of murder again for a crime he did not commit.  And, now approaches Rajnikanth again for rescue.  Several lawyers (including late comedian V.K. Ramaswamy in a lively cameo) coax Kannan into opposing his ‘father’ in the court of law, leading to heartburns for all the parties involved.

 

The proceedings are absorbing from the word go.  The director sets up several situations to distinguish between the egoistic but affectionate Rajnikanth and the docile, pious Kannan.  The supporting cast is excellent and their attitudes towards these two, helps us in understanding the opposite poles.  Nagesh as Sivaji Sr.’s talkative assistant, Neelu as a good-for-nothing Uncle, PandariBai as the obedient wife of Sivaji Sr, all have quirky, interesting and colorful secondary roles.

 

The initial portions wonderfully bring out the affection between Sivaji Sr. and Jr.  There are no overt sentimental scenes where they express their love for each other.  Several small, sweet incidents make us realize the undying love and affection the two nurse for each other.  It is touching when Sivaji Sr. remembers several of Sivaji Jr.’s habits when the latter is out of the house.  The way he calls out “Dey Kannaa, innum konjum neiy podraa” at the dining table (when it is PandariBai who is serving food) is affecting. 

 

The first case that Rajnikanth wins for Mohandass has several engrossing moments.  The way he handles the case is quite intelligent, though a tad simplistic for all the bravura that he exhibits.  Nevertheless, the ‘rehearsal’ scene at his house is a lot of fun with Nagesh stealing the show with his witty one-liners (When Sivaji Sr. asks him to act as the judge, he says, “I am your honor but I am in the corner!”).  There are several hints along the way as to how none of the parties could handle the emotional scars associated with the improbable (later inevitable) showdown between Barrister Rajnikanth and Kannan.  The game of chess that Rajnikanth and Kannan play not only brings out the Barrister’s desire for winning everything but also how he could not digest somebody letting him win easily…all pointing towards the final confrontation.

 

The sequence where Kannan decides to the leave the house (the instant where Sivaji asks PandariBai, “Aathavitte poyttaana?” is quite a moment) and the “Paalootti Vallatha Kili” song that follows, might seem overdone by today’s standards but is outstanding nevertheless.  The song has one great line after another (by that immortal poet Kannadasan) and is evocatively sung by TMS.  The way TMS renders the line “Chellammaa, Endhan Chellammaa” is haunting.  It always inspires my awe how TMS’ voice perfectly suits Sivaji and how the latter’s lip movements and facial expressions destroy the illusion that the voice is TMS’.

 

The final courtroom sequence where a last-minute evidence sways the case towards ‘poetic justice’ is a good piece of direction and acting.  The way Kannan exploits Rajnikanth’s ego and overconfidence by asking him whether he needs extra time to analyze the case, is a clever touch and reminds us of a comment that Rajnikanth had made to Kannan in an earlier scene—“You cannot deal with my strengths…but maybe you can exploit my weaknesses.”  There are several other instances of things hidden in plain view (in the initial portions) that are brought to the forefront in the later scenes.  The movie has the perfect point of culmination for the Rajnikanth character.  Thinking in retrospect, the movie could not have concluded in any other way that could’ve been convincing.

 

If I were to choose 10 of my favorite ‘characters’, it would have Velu Nayakar from “Nayagan” at the No. 1 position and Cheeyaan from “Sethu” at No.2; and somewhere in the top ten, would definitely figure Barrister Rajnikanth, from this movie.  In one of his deservedly famous performances, Sivaji brings the character to life with startling intensity.  His monologues about his dedication to his craft and his explanations for his behavior are brilliant and he sparkles in almost all of his scenes, rarely striking a false note.  His resonating voice and flawless dialogue delivery play no small part in adding gloss to his portrayal.  He nicely demarcates between this and the Kannan character.  The meek, good-hearted Kannan is not nearly as attention arresting as the Rajnikanth character but that is the nature of the character and the difference between the two roles.  As mentioned before, the supporting cast is exceptional.  Apart from the members of the Barrister’s household, Major Sundararajan’s Mohandass is the other crucial character.  The actor though not in peak form (I’ve always felt that “Ethir Neechal” marked his best, most unaffected turn as a character artiste) still does a convincing job as a person who is undeniably flawed yet vulnerable and desperate.

 

Director “Vietnam Veedu” Sundaram, in addition to writing a strong story, comes up with several deft directorial touches as mentioned in the earlier paragraphs.  But it is the script that gleams like a gem.  In addition to play of words, the director also brings in instances from the Mahabharatha and quotes from the Thirukkurall at just the right places and in the right proportion.  The adages and imagery (“The young bull is fighting the old bull”) that he uses at several places add weight to the scenes. 

 

For another really good review (I am ‘unwittingly’ implying that mine’s “really good”!  Talk about modesty!) of this movie, check out http://www.geocities.com/bbreviews

The reviewer gave it ** ½/****.  I would give it ***½/****

 

Note:  In his review of this movie, the author had mentioned how the Director ended the movie with a very apt line.  I think it is worth mentioning that line:

Thannilai Thaazhaamaiyum

Annilai Thaazhndhakkaal

Uyir Vaazhaamaiyum

Maanam Enappadum