“Rhythm”

 

I must say this—ever since I wrote a review of Vasanth’s debut “Keladi Kanmani,” I’ve been wanting to follow it up with a review of “Rhythm.”  I must’ve seen this movie more than 10 times since its theatrical release (2000) and as I had mentioned in my review of “Keladi Kanmani,” I went totally gaga over this movie when I had a chance to analyze it with its Director Vasanth.  Vasanth has made 8 movies till now and the discerning movie fan will immediately realize that he is far more successful while dealing with relatively ‘serious’ or ‘heavy’ issues.  When Vasanth goes for ‘cute’ romances, I have been invariably disappointed due to the lack of depth that he is so capable of in serious features like this one and “Aasai” (Even his unsuccessful “Nee Paathi Naan Paathi” had its moments of emotional power). 

 

I apologize for the digression but getting back to the subject of this write-up—“Rhythm.”  I have a fondness for movies that have lofty ideals and the best of intentions.  Such being the case, characterization is really the key for a movie to fit this description.  If a movie can have loveable characters and makes me empathize with every emotion of every key character, then the Director has nailed it!  Such is the kind of power and confidence exhibited in “Rhythm,” which is not a flawless picture (how many pictures are flawless anyway?) but exhibits a certain level of innocence, charm and good heartedness totally lacking in ‘masala’ movies that give a go by to the storyline and have heavy doses of the so-called ‘entertaining elements!’

 

“Rhythm” could probably be called the companion piece of “Keladi Kanmani.” It touches on several of the themes dealt with in the previous feature—a positive spin on remarriage, sacrifices, parental love, care, quirk of fate and destiny—in an even more sensitive, polished manner.  This is the work of a Director in total command of his craft, and who has matured in 10 years of filmmaking.

 

Roger Ebert, in his review of the movie “Irreversible,” said, “Life would be unlivable without the innocence of our ignorance,” in referring to the huge uncertainty we have about the future.  This is probably the reason why I used the word innocent in talking about the movie’s pluses.  There are several instances when the characters behave in a way that conveys to us that they are so oblivious of what the future holds in store.  The twists in this movie are a result of fate.  The characters seem to be so out of control of their futures, and this brings an element of endearing vulnerability to them.  This is one reason why Arjun’s character stands out.  Good things happen to him, unfortunate things happen to him, characters drift in and out of his life…yet the man seems to have so little control over his future.  Here is a man with the best of intentions for the people around him and yet it is all, in Nagesh’s words “in the hands of Ooparvaala (The Almighty).”

 

Instead of getting too abstract, let me get into the specifics.

 

"Rhythm" starts off slowly but steadily, focusing on the lives of Karthikeyan (Arjun), a photographer for Indian Express (Mumbai) and Chitra (Meena), a bank employee.  Karthikeyan lives in Mumbai with his parents (Nagesh and Vatsala Rajagopal) and Chitra has a son (Master Aditya).  Within the first 45 minutes or so, Vasanth establishes these characters and the equations between them.  The natural way in which the friendship between Arjun and Meena unfolds, is one of the many instances in this movie where Vasanth exhibits class and maturity in depicting relationships the way they are in the real world.  There is an undeniable aura of realism that permeates this movie and Vasanth's trademark subtlety plays no small part in helping him achieve this.

 

The flashbacks of Arjun and Meena follow in quick succession which may be a tad disconcerting to viewers looking for a fast pace but for those who like to observe, not just see, this is a pleasant diversion.  Apart from being charmed by two endearing characters (Jyothika who plays Arjun's wife; and Ramesh Aravind who plays Meena's husband), we realize the uncanny similarities between the two couples.  These are people who make a sincere attempt to love and care for their dear ones and yet seemed to have got so little from the Almighty in terms of longevity.  Spoilers ahead-- This statement is punctuated in the final conversations of Jyothika (with Arjun) and Ramesh Aravind (with Meena).  Traditional movie scenes of death have involved people bidding goodbye followed by outbursts of tears. But here it is totally different-- these are people who have no idea about their end in sight.  They're just getting ready to board a train to see their respective spouses and...

 

After the flashbacks, Vasanth adds another twist to the story in the form of the Lakshmi character. Just when Meena realizes Arjun's goodhearted, unconditionally affectionate character, Lakshmi's reasons for requesting Meena to come with her to Conoor are strong and poignant.  The senior actress is terrific in her short role, forcefully projecting the orthodox yet 'human' brahmin character she plays.

 

If it was fate that caused several heartburns to the characters, it is the same that brings back happiness.  I should confess that I was so floored by this theme that I had scant regard for factors like implausibility and deus ex machina that viewers usually associate with chance meetings.  This is one reason why I loved the scene in the bookstore in Conoor where Arjun meets Meena and Lakshmi.  Meena's simple comment to Lakshmi about the similarity in their (Arjun's and hers) lives and the latter's stunned reaction are strokes of genius.

 

The movie concludes with a sweet scene at the Railway station that if not entirely unpredictable, gives a much-needed spark to the lives of these characters.  The success of the movie lies in the fact that we think, "I am so happy for Karthikeyan, his parents and Chitra!"

 

When I met with Vasanth, I asked him about the performers in his movies and the kinds of instructions he gives him.  He responded with one word--Underplay.  While he was elaborating on this, he mentioned that performers like to 'act' it out but he would request them to tone it down as much as possible because that is when they would be able to do a role with conviction (of course, this is in the modern day context).  Linking that statement with this movie's players validates that statement in thumping fashion.  Arjun is the prime example of this-- it would be unfair of me to call it a 'performance.'  He just behaves naturally in front of the camera.  That’s it...the emotions take care of themselves.  Such is the efficacy of his effortless emoting.  He is excellent in the scenes with his parents.  There is a memorable sequence in which his Mother says, "Romba Nalla Paiyyan Paa Nee...Unakku Innum Konjam Nalladhu Nadakalaam."  In response to that he does not shed tears or utter cliches.  He gets out of the dining room and with one look into the mirror, he says, "Irundhaalum Chitra Oru Vaarthai Sollitu Poyrukalaam. Illiyaa Mr. Karthikeyan?"  The way he modulates his voice expressing anguish over Meena leaving town (without informing him) is masterful.  His work here is undoubtedly the best of his checkered career.

 

Meena shows what a fine actress she *can* be.  I opine that she has only two good performances in her resume--this one and "Bharathi Kannamma."  She, like Arjun, is very natural and spontaneous.  She is very appealing in the flashback with Ramesh Aravind, her reaction to his question ("Even though you agreed to marry me, I still don’t know whether you love me.  Do you?") being very cute.  She is also excellent in the final scenes in Conoor, her dialogue delivery aiding her well.

 

Jyothika is very loveable in her brief role, the delicate nature of her character being brought out very well.  Her facial expressions during her final (phone) conversation with Arjun are priceless.  Ramesh Aravind charms Meena (and us!) with his antics, playing the charismatic guy to perfection.

 

Seniors Nagesh, Lakshmi and Vatsala Rajagopal form a trio of memorable supporting characters.  They have several great lines and are given solid character arcs by Vasanth.  Especially Lakshmi's character is a brilliant one, the changes to her being depicted in compelling fashion.  With all these seasoned performers excelling in their roles, Master Aditya ensures that he gets his share of accolades.  He is the most spontaneous child artiste I've seen in Tamil movies (though the kid playing Sneha's sister in "Virumbigiren" gives him tough competition) and I hope he gets good roles as this one.

 

A.R. Rehman (supposed to have given this movie its title) comes up with three great songs in "Nadhiye Nadhiye,"  "Kaatre En Vaasal" and "Thaniye Thanandhaniye," lyricist Vairamuthu and the singers doing full justice to his fabulous tunes.  Cinematographer Vinod proves his mettle with his fine work in the song sequences.

 

So, there you go--this is the finest work of a fine Director with several fine performances...I've seldom seen movies finer than this!