“Pudhu pudhu Arththangall”

 

In his last film "Paarthaale Paravasam” (2001), veteran filmmaker K.Balachander had a title card which read: "Dedicated to the pioneers and trend setters of cinema." It would not be presumptuous of one to state that he was (unwittingly or otherwise) referring to a list that includes him.  One look at his oeuvre and the reader will see why I say this.  His films like "Aboorva Raagangall," "Avargall," "Achamillai Achamillai," "Varumaiyin Niram Sivappu" and "Sindhu Bhairavi" are redolent of an era where powerful writing, deft direction and edgy performances were the key ingredients of a successful movie.  “Pudhupudhu Arthangall” may not be one of the evergreen classics of Tamil cinema but is undoubtedly one of the best-scripted movies about marital and extra-marital relations.  With a strong story, stirring dialogues, good performances, hilarious comedy, lilting music and some memorable, insightful lyrics, this is a “must-see” for connoisseurs of good cinema.

 

This is the story of Mani Bharathi (Raghu), a famous, middle-aged playback singer.  His wife Gowri (Geetha) is a rich, spoilt kid, whose obnoxious, arrogant mother (Jayachitra) will bend all rules to satisfy the wishes of her daughter.  Gowri’s extreme possessiveness is fueled further by Mani Bharathi’s “prominent personality” status – girls swoon over him, actresses flirt with him (the award ceremony scene is a case in point) but Gowri poses the question, “You are a public figure.  But you are not public property, are you?”  Though he loves his wife, he is unable to perfectly separate his professional and personal lives.

 

Post-intermission, a heated argument spurs him to run away from home.  Like a bird out of a cage, Mani Bharathi finds a whole new wondrous world.  It is here that he bumps into Jyothi (Sithara, making her debut), a woman running away from her beast of a husband.  Their interactions, their experiences with an aged couple (Poornam Vishwanathan and Sowkar Janaki) and how all of this affects Gowri, is what “Pudhu Pudhu Arthangall” is all about.

 

Well known for his temerity and his willingness to take up daring subjects, Balachander tackles several interesting issues and poses some unanswerable questions.  The head-on clash of the protagonist’s personal and professional lives is a good example.  Why is it that an artist, with name, fame and money beyond the dreams of avarice, not get the privacy he deserves?  If privacy is the trade-off for fame, is it an immutable scenario?  All these questions are at the heart of the movie and Mani Bharathi’s character is depicted so well as a victim of his own popularity (Raghu’s scene in the recording studio with the police inspector is a great touch) that we have no trouble empathizing with his character.

 

But Balachander does not trivialize things.  He also shows us how it affects the singer’s wife.  And, by depicting her as a possessive person, he creates a vicious cycle where the celebrity’s ever-soaring popularity worsens his wife’s possessive nature, which in turn affects his public image.  This aspect of Balachander’s script gives it an extra zip, leading to several powerhouse scenes between the two lead characters.

 

The second half of the movie goes into overdrive, testing the limits of the institution of marriage.  Mani Bharathi’s unique relationship with Jyothi creates inextricable knots between the main characters.  While it could be said that Balachander is unable to pose a clear-cut resolution, it would be a Herculean task to come up with a “resolution” as such, because of the amazing complexity of the characters and their dilemmas.  But one cannot help but stand awe-struck by KB’s willingness to deal with controversial issues such as an extra-marital relationship that is pure in its own way but not in the eyes of the society.

 

The acting, though splendid at several places, does not do full justice to the level or complexity of the writing.  Raghu, given a fabulous character, does a good job of portraying the frustration of his character.  But, he does not add too much to what’s already on the page.  Showing some of the subtle nuances and mannerisms (watch SPB in “Sigaram” or Sivakumar in “Sindhu Bhairavi” – the musical genius of their characters is so palpable) of a singer would’ve added gloss to his role.  But he is convincing in his altercations with Geetha and his mature interactions with Sithara.

 

Geetha goes over the top at several places in the first half (their pre-marriage scenes are quite distasteful) when trying to woo Raghu.  But she is terrifyingly believable as the possessive wife.  Her verbal volleys with Raghu are sharp and delivered with conviction.  Sithara does a wonderful job as the suffering woman in need of freedom (Just as an aside, I like the fact that her character's name is 'Jyothi'--it is one word that perfectly describes who she is, to Raghu, yet leaves a million unanswered questions).  Seniors Poornam Vishwanathan and Sowkar Janaki create two loveable characters.  Their childlike attitudes strike a nice contrast to the marital problems of the younger couples.  Jayachitra’s accent may be perfect but the actress indulges in some unnecessary scenery chewing.  The actor who plays the cricketer makes a nice villain but KB does slip in fashioning his character—are girls really this crazy of Ranji Trophy players?  No insult to aspiring first-class cricketers but I am just saying that they are rarely, if ever, in the public eye.

 

Vivek (in one of his early roles), as Raghu’s secretary, and Janakaraj, as the violinist, have separate comedy tracks that are woven into the main plot.  Both are hilarious.  Vivek with his mimicry acts brings the house down in the scenes where he threatens Jayachitra.  Janakaraj is very funny in his first sequence in the car and also in the scene where he does a Dumb Charades act with his assistant. 

 

The genius of Illayaraja and the brilliance of Lyricist Vaali combine to give us an album that is a musical treasure.  “Kalyaana Maalai” provides the perfect start to the movie.  By the end of the song, we get the broad strokes of Raghu’s character (how many times in the recent past, has a song aided character establishment?).  Here is a famous playback singer who is yearning for something—is it peace of mind?  Is it privacy?  Is it stability?  The answers for these questions in real life would not be simple and Vaali understands this.   This is emphasized by the lyrics of the song, especially in the following lines:

 

“Dhukkam Sila Naeram Pongi Varum Pozhudhum…

Makkal Manam Poale Paaduven Kannae…

En Soagam Ennodu thaan…”

 

The other great song in this movie comes in the second half after Raghu, who has run away from home, has met Sithara.  A lesser movie would’ve shown the two of them having a one-night stand.  But KB’s characters are not looking for sex.  They’re looking for someone who will soothe them with emollient words.  Raghu’s joy in having found this person is beautifully depicted in the “Keladi Kanmani” song.  Illayaraja’s talent is on full display in the way the tune conveys all of Raghu’s emotions: contained excitement mixed with an overwhelming sense of sadness at his past life.  Again, Vaali’s lyrics complement Illayaraja’s tune perfectly.  The theme of the movie is summarized in these lines:

 

“Neengaatha Baaram En Nenjoadu Thaan…Naan Thaedum Sumaithaangi Neeyallavaa?

Naan Vaadum Naeram Un Maarboadu Thaan…Neeyennai Thaalaatum Thaai Allavaa?”

 

The next time you listen to this song, pay close attention to the way SPB renders the line, “Yaedho Yaedho Aanandha Raagam!  Unaaal Thaane Undaanadhu…” 

 

It is as though the bubble of ecstasy in Raghu is about to burst.  It takes a music director of Illayaraja’s stature and a singer of SPB’s talents to bring out this telling nuance.

 

          The other songs are more of fun than meaning.  “Guruvaayoorappa” is a nice duet though ordinarily picturized.  “Eduthu Naan Vidavaa” is a fun number, singers Illayaraja and SPB having a ball with the intentionally silly lyrics.