"Punnagai Mannan"

 

A well-acted musical is a rare commodity. A well-acted, well-made, well-directed, well-written musical with great songs is as rare as honest politicians! Such a rare gem is "Punnagai Mannan." Made in 1986 by a formidable team, this classic works on all levels--as a character study, as drama, as a musical, as a romance and even as a tragedy. I would be at a loss if I was asked to decide which aspect works best because all of them blend in so smoothly in Balachander's screenplay (Story, Dialogues and Direction are also by him) to not just entertain the viewer but also to haunt the viewer. The powerful images, the sharp dialogues, the top class performances, the musical delight in Illayaraja's tunes all combine to make the movie a treasure.

 

"Punnagai Mannan" is about Sethu (Kamal Hassan), a dancer whose life is full of ups and downs.  He loses his sweetheart in an unsuccessful attempt at suicide, is wrongfully accused of murder, sent to jail, is released, and then falls in love again with another aspiring dancer.  The movie is unique in its characterization of Sethu in that he does not have the usual confidence, none of the male chauvinism that movies in the 1980's exhibited (in fact, Revathi's is a very strong character) and above all--this movie's psychological reasoning is sound.  The changes in Sethu's behavioral patterns are very well done--the circumspect, depressed person in the portions with Revathi is in stark contrast to the charming hunk in the portions with Rekha.

 

The focus of the movie is the romantic rebirth of the Sethu character after he is released from prison.  Two other characters--Sethu's Uncle Chaplin Chellappa (Kamal Hassan again) and a SriLankan dance student Malini (Revathi) who falls in love with Sethu--dote on him in spite of his 'touch me not' attitude.  How the two, especially the latter, provide him light at the end of the tunnel is what "Punnagai Mannan" is all about.

 

Balachander has several twists up his sleeve and this makes "Punnagai Mannan" a racy motion picture.  Apart from the main twist that comes at the end of the "100-minute" sequence with Rekha, the one where Kamal argues with Revathi's parents is the other one that provides a spark in the second half (Kamal's altercation, in English, with Revathi's father is a gem in its own right).  Chellappa's advice is sensible and his argument with Revathi's Dad (again, in English--notice how Kamal has used different speech patterns for the two roles) is fantastic.  He also manages to insert some lightheartedness with his comments ("Suddenly my English is doing very well, Sir!").  But inspite of all the magic woven in the first 2.5 hours, Balachander, like a skilled long-distance athlete messing up the last lap, concludes this movie with a horrible climax.  Some people might get a sense of closure or irony in it.  This is one movie which begs for a positive ending but not with KB--he brings in a totally unwarranted twist which shakes us up no doubt, but also feels very contrived.  But this is one classic that remains a classic in spite of an unconvincing finale...

 

The performances:  Kamal Hassan was at the top of his game in the mid 80's and this dual role is among his several memorable turns during that period. The number of dimensions he gives the Sethu character is astonishing. The 15-minute sequence before the suicide attempts of Rekha and himself brings out the best in him in terms of facial expressions. His struggle to sport his "Pon Sirippu" shows how potent a close-up of a fine actor can be. Later his struggle to come to terms with his new life is brought out by his gruff exterior. His gradual melting culminates in the sequence where he confesses to Revathi that he has succumbed to her love. The casual arrogance with which he says "I love you" is a telling nuance--Sethu is not a hotheaded guy; its just that he finds it so awkward that he has fallen in love again that he shields himself with an impenetrable exterior. The other role--Chaplin Chellappa--is a stroke of genius. In using Charlie Chaplin's mannerisms, dressing habits (replete with that hat!) and silent comedy, what Kamal does is not an imitation but a tribute to the legendary comedian. It is amazing how he makes this character a lot more than a clown.

 

Revathi plays second fiddle to Kamal and is not given as much scope as Kamal but makes her character a memorable one with her trademark mix of fun, cuteness, sensitivity and grace. This is one of the few movies that gave good fodder for her dance skills, her poise and balance being a delight to watch. Rekha is sweet and does well in her short role. Delhi Ganesh and Srividya lift their one-dimensional, underwritten roles with good acting.

 

Apart from the performances, Illayaraja's music is the real backbone of the movie. The fast-paced "Kaala Kaalamaaga" has some amazing beats, with Raja's penchant for the fast paced violin music bringing in rapture to the listener. "Edhedho Ennam," "Enna Saththam Indha Neram" and "Singalathu Sinna Kuyile" are some of the sweetest melodies contributed by Raja to Tamil cinema. But what stands tall among these peaks is the 'theme music' that plays for about three minutes in the scene where Kamal and Revathi 'unite' in love. This dance sequence is an absolutely mesmerizing, aesthetic piece. Kamal's graceful steps synchronize so well with the tune and the rise to the crescendo when they eventually hold each other in their arms is unforgettable. Attaboy!

 

In the final analysis, "Punnagai Mannan" is one of the greatest ever music-centric dramas committed to celluloid.