“Sornamukhi”

 

“Sornamukhi” has two striking similarities with “Amaidhi Padai”-it is the performance of the lead actor that is attention arresting, and it is the raw, straightforward, punch-laden dialog that creates a terrific impact.  R. Partheban gives one of his best performances-actually one of the most memorable performances in recent years-as Pandiyan, a person whose mind, heart and mouth are always in perfect sync.  The director K.S. Athiyaman (who helmed the critically acclaimed “Thotta Chinungi,” and who is nowhere to be seen these days) crafts a role that fits his lead actor perfectly and the two combine their forces to create a numbing effect on the viewer’s senses-this is powerful stuff!

 

The strong story takes the traditional triangle love story format and breaks new ground in several areas.  Firstly, there are no traditional villains.  None of the characters are perfect in the traditional sense either.  By creating dynamic personalities using sharp characterizations, Athiyaman creates an unpredictable scenario where we are always biting our nails in trying to guess what would happen next.  Pandiyan and Sornamukhi (played by Devyani) are in love but circumstances force them to be separated, with Pandiyan going to jail and Sorna falling in love with Akash (Prakashraj).  After three years, Pandiyan comes back to Sorna and it is a torrent of emotions, sparks flying in all directions.  It is in the second half of the movie that Athiyaman fires all the emotional bullets right on target.  He examines several relationships, all in different ways, yet keeps the movie’s structure under control, hence contributing to the racy pace of the movie.  The 15-20 minutes preceding the climax might feel contrived and/or stretched out but Parthiban’s superb monologue in the climax sets everything right and the movie stays with us.

 

Parthiban sometimes relies solely on his dialogue delivery to prop up movies (“Anthapuram” for example) or plays it in a dour mode (in features like “Azhagi” and “Nee Varuvaay Yena”) but it is in a select few movies like “Pudhiya Paadhai,” “Bharathi Kannamma” and this one, that he combines all his powers to create a well-rounded, hauntingly believable individual.  Here he uses his trademark dialogue delivery (the way he brushes aside Prakashraj as a driver is done so effortlessly!) and his usual frank approach to conversations-the way he blasts Sorna for not being true in her love (in his opinion) is a case in point.  But it is his power to emote that differentiates this movie from a host of others.  The scene where Sorna’s mother visits his house (where he’s written Sorna’s name all over the walls) is a classic-she tells him that she would like to get Akash and Sorna married.  He insults her, and she is out of the room.  Now, a lonely Pandian (who knows that Sorna had expressed consent to Akash’s proposal) conveys with his powerful eyes, body language and expressions, the feelings of anger, betrayal and pain-as he smears his face with the charcoal with which he had written her name on the wall (“mugathula kariya poositta”), we realize his undying love and the pain caused by her mother’s words.  It is Parthiban’s subtle yet powerful approach that makes this unforgettable.  As mentioned before, he is masterful in the climax too.  He ends this movie with a fantastic line--Naan Sorna Maela Vechurukkara Kaadhal, Enna Erichaalum Saambalaa Minjum, Adha Karachaalum, Kaathum Mannum Irukkara Varaikkum Irundhukittaethaan Irukkum.

 

The other strength of this movie is K.S. Athiyaman’s extraordinary dialogues.  Every scene has a memorable line (more than one if it has Parthiban!) and once you are out of the theater, you can quote line after line that made an impact.  His dialogues are sharp and biting.  The language might make people squirm but the brutal impact is undeniable.  Kudos to him!

 

As is the case with movies where one actor completely steals the show, there is hardly anything else that makes much of an impact—this is one reason why the movie’s first 30 minutes (Parthiban doesn’t make his entry till about 30-35 minutes into the movie) feel slow and even a tad boring.  Nevertheless, Devyani gives a good performance as the girl caught between two opposing forces.  But Prakashraj seems atypically out of sync with his character.  Mani Vannan, Fathima Babu and Jai Ganesh give good supporting performances.  Technically, the movie is average.  One of the songs involving Mani Vannan and the M.P.’s son is awful and should’ve been edited out of this classy movie.  But a couple of songs sound melodious.