Originally Posted by
groucho070
Ponunjal (1973)
Directed by CVR
Written by Shakti Krishnaswamy
Music composed by MSV
The real title of this movie should be Pazhi. Its about revenge. It seems just a simple tale of a guy wanting to get the woman he loves but falls prey to basic human folly by the name of vengeance. But this is not a radical, liberal, anti-establishment man with simple request. NT’s character is a simple honest, culturally rooted man who lived his life in love with Usha Nandhini, and knowing well that the girl he loves is the destiny, but obstacles plays the role of fate. Can he defeat this fate (Vithi)? That is the central theme of this movie.
Usha’s is NT’s own Maaman Magal (uncle’s daughter) in this film. He has been comfortable with the knowledge that a married life with her is his destiny. That has been planted in his conscience since he was a kid.
He has a good relationship with her family, until that fateful day when they were deciding the marriage. His father, Sagasranamam, suddenly imposes the financial arrangement to his brother in law (S.V. Suppiah, who married his sister), intending very clearly to avenge the incident long time ago, whereby SV Suppiah demanded a large sum for the completion of Sagasranama’s own marriage. Sagasranamam’s father died, distressed and disappointed, and he had to work the whole thing out. It hurt him badly, and he had always been wanting to get back at SV Suppiah for causing his father’s death.
NT’s father is only vengeful, he is not evil. He loves his son and he gets remorseful later when NT confronts him. To NT, the question is, why all these years of pairing him with Usha – having it bloom into passionate love affair only to have this age-old revenge to break that?
The father – son confrontation may not be heated, but is tormentful. The son just want to know why put him on a emotional whirlwind. Death is also discussed and this breaks NT’s parents down. That is how seriously he is in love with that girl.
Suppiah’s reaction to Sagasranamam’s request for money is only guided by his ego. Simple. He is smart (finds out ‘treasure’ was planted by NT – well intended), and a good man….but ego drives the wedge between these two families further.
Though the instigator is Nambiar, the real bad guys is his father’s vengeance and his uncle’s ego. Most of the time, NT finds it easy to deride and get rid of Nambiar, but the issue is now the vengeful notion and arrogance that is taking toll to his love life and the memories of growing up with his childhood sweetheart.
There is an interesting mode of solution here – using different Thali to note sense of belonging. The society now has to ask themselves what to believe. When they were told that the Thali issued for the marriage is not the same Thali planned for it, they begin to question the own culturally rooted belief. The Thali in hand belongs to NT, but Usha is forced to be married to Muthuraman, a local rich man.
Muthuraman’s character here is not a bad guy. He is just a man used for occasion by Nambiar who is plotting revenge against NT. NT and Usha is now a victim of both NT’s father’s need for vengeance and Nambiar’s intention to get back at him. Muthuraman is just a pawn. But like his character in Savale Samali, he is important in the resolution of the plot. (I have great respect for Muthuraman. Watch Savale Samali and this movie, and you will understand why).
The casts have all done justice to their role. Suppiah and Sagasranamam were both superb. I have special affinity for Suppiah’s performance – like other greats like MRR, Palaiya (and NT of course), very unpredictable. Usha, who is not really a great actress (the only sore point in Gouvaram) is actually good here.
Nambiar himself proves what a talent he is. Alternating between comic (after the stage performance, when he is complaining to SV Suppiah about Usha, he’s a riot) and pure evil. What started out as a nuisance, becomes clearer as he charts out his intention. Being a Murai Maaman himselft to Usha, he made sure that she is out of NT’s reach, at the same time is not touched by Muthuraman (you got to see it to understand what I am saying). Pretty smart, for a small time village bad guy, but not impossible considering that those are his needs and man will think of anything to get what he wants.
Of course, NT is NT. Again, he plays a helpless character. He is strong physically, can shrug of Nambiar with just a few words, but he couldn’t defeat the evil that is his father’s vengeance. The confrontation scene I mentioned really can draw tears. What will you do when your own father, who is a good man, is instrumental in defeating your love affair? NT responded well in these scenes.
Poet laureate Kannadhasan used to say “Naam Munnorgal Moodargall Alla” (Our forefather’s are not stupid). I concur. At one glance, for present generation, this is just a black and white movie where past actors with white foundation and big wigs overact and cry a lot.
I don’t see it that way. This film was made during the year I was born, and yet, I see that it was not made by idiots. It was made by individuals who understood the complex emotions that guide human being’s action and reaction. It was made by talents that understood what is the motivation to many human follies. These are the talents that were the strong foundation to what we know as the glorious Tamil film industry.
This is a small film. But the scriptwriting, performance and of course the music is huge! I can’t cite direction, as it just looks apt and the director really depended on the talents in front of and behind the camera.
Of course, three of the songs are popular, Muttucharam sudi varum, Nalla Kariyam Nadakattum and the most popular of the lot, Aagaya Panthalile. Since the last song has been played a lot on radio, I find the second song more endearing. Those who are in love, has been in love and going through obstacles can relate to song.
Ponunjal is a small underated gem that should find audience again. Not an average audience, but who likes thought provoking scenes and great screen performances. It is sad that now most film are made only to please our senses…not our intellect.
ends.
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