Movie review: Pasanga (Pandiraj)

Yes, I happened to catch up with debutant Pandiraj’s film late – really late. I had read amazing reviews, except of course Baradwaj Rangan’s mixed jabs, topped by the film’s ending, which he said was an ‘infuriating insult’!

When I finally did manage to see the film earlier this week, I was blown away, to say the least.

Most reviews of Pasanga pointed to the fact that it was one of the very few (only?) films in India that treated children, as children. Pasanga is a film for adults, with children as the protagonists. It is also far removed from the sophisticated sensibilities of Maniratnam, who skillfully used children to add mirth and of course, lend sensitivity. But the segments in Anjali that pertained to the naughtier side of children served only at exploiting their behavior as little adults, not as young children.

Pandiraj nails that aspect brilliantly in Pasanga. Even in scenes where you expect the lead children to behave like adults, thanks to generously accessible filmy influences these days – he exhibits restraint or changes tracks intelligently, to explore the innocent side of the kids. That…is truly remarkable.

The two other aspects that impressed me the most include using the kids to subtly sensitize adults about their mistakes and the male-female role reversal.

The former is obvious – Anbu’s character is used extremely positively that it is hard not to marvel at that boy’s characterization. He impacts not just kids in his class, but also all the adults around him – it is one of the most nuanced characters I’ve seen written for a child yet, in Indian cinema. There’s so much positivity and hope shining in this character in a natural way, that they serve to highlight the glaring contrast of the filmy positivity that Vikraman’s characters exude!

The latter, however, is the real masterstroke. Tamil cinema is home to rampant male domination. No hero in our state apologizes – its always the woman who is used to apologizing; if the man does, he’s either above 50 (in filmy age) or from a neighboring state (Mammooty?). And worse, no hero apologizes to a woman – if anything, Tamil heroes are known to advise women, at the drop of a dhoti, however wrong they are.

Here, the scene between the fathers of the 2 boys is the film’s stunning highlight. It is the single most mature and evolved piece of script writing I’ve encountered in the last few years, in Tamil cinema. The choice of words, the thought and the expressions adopted by the actors – everything about it is spell-binding. I had to pinch myself to believe that I’m seeing such a scene in Tamil cinema; the subsequent scene where Anbu’s father makes up for his anger, is another gem of a thought. These 2 scenes adequately convey that Pandiraj is definitely not going to be a one hit wonder.

There are of course so many places that the director exhibits Balachandar’s technique and thought; first, it is the sheer unpredictability of screenplay – I stopped guessing what would happen next, after a series of false starts. Things happen in a pleasantly surprising way all throughout the film, that I’m amazed by the amount of thought that has gone into scripting it. Second, smaller touches that have you clapping at the sheer ingenuity in them – the way the massive school fight ends (or, is ended); the manner in which the director reaches a resolution after the lovebirds are caught red-handed; and even much smaller passing nuances like a tired Anbu, with a torn slipper heading home, but is still arrested by the sight of a cycle shop…all these more-than-adequately showcase the script’s brilliance.

The irritants, however minor, include some songs – James Vasanthan’s background score is very apt and even the Oru vetkam song is very good. But the Naandhaan goppanda song goes back merely using kids to act out adult parts, mainly to over-stress the point that it is being done only for a song and not in the main film. Small mercies, those!

A special note of applause to producer Sasikumar for having stood by this script. This film, along with Nadodigal, are two of the most enjoyable and natural (natural, not as in genuine or the so-called ‘real’ films – natural in a more filmy and wholesome manner) films to have graced Tamil screens in recent years and I’m happy that someone had the sense to make films like this in this age of mindless action and hero worship.

As for Rangan’s point cited in the beginning, yes, the ending seemed sappy and induces cringe to the more evolved in the audience, but within the context of the film, it does fit well and that jolt in the climax sure seems necessary, however cliched it may sound.

This is one of those films where I pity you, if you cannot understand Tamil. The subtitles do a mighty good job in conveying the film’s emotions, but the nuances grab you only if you’re a Tamilian. But, don’t miss at least the emotions – I can assure you, you haven’t seen anything like this – this is like Taare Zameen Par; but where Taare… won with its simplicity and focus, Pasanga soars…with many more fascinating dimensions.

Keywords: Pandiraj, Sasikumar, Pasanga

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