Papanasam – Beautifully replicated blossom

Papanasam – Beautifully replicated blossom

“Growing up, I was taught that man has to defend his family. When the wolf is trying to get in, you gotta stand in the doorway” -BBKing.

Yes. the quote said the synopsis of the movie. This is all about a normal, common, family man and the extremes he try to protect his family. There have been official, unofficial remakes happening in Indian cinema for long.. ranging from Enga veetu pillai, Devadas to Manichithra thaazh, Drishyam. Some are good and few fail miserably [ Lucia to enakul oruvan, Salt n pepper to Un samayalaraiyil, A Wednesday to Unnai pol oruvan ]. Another interesting thing is the remake of Okkadu – Prakashraj has been the only constant element in all the South Indian version of remakes. I happened to see the Kananda version of it with Punith and of course Prakash raj taking up Hubli dialect ].

I’m once again convinced that a simple story line and a meticulously written screenplay make half the film done. Of course, the casting and the technicians complete the mission. This is applicable for all the good cinema, we have seen so far. Also, it once again proves that a surrendered actor to a writer/director makes the near perfect film. It’s highly applicable for Kamalhaasan – Nayagan, Aboorva sagodharargall, Indian. [ the opposite example of incorrectly written movie is Mumbai express, Aalavandhaan ]. It was so pleasant to see a simple hero [ right from his make up, costumes ] and thanks to the boundaries already created in the Malayalam version. Kamal has done a neat justification of he redoing and enhancing the film experience, though some of the Tamil fans have seen Drishyam. The other way is that Malayam fans can enjoy Kamal being in Drishyam now. It’s indeed inapt to compare these 2 legends – who are great in their expertise.

On the writing part, they have made doable changes to the script – Places, people, religion [ George kutty – Christian – Suyambu – Nadar ] and improvise things. One example is that the police crew comes to the hero’s home n search something. They look back with a big confusion [ beautiful BGM by Ghibran ] . This was cleverly handled in Tamil and of course they predicted it well with Tamil audience. Also the climax is well explained in Tamil [ despite the lengthy narration – 180 mins ]. The flaw of changing Meena to Gouthami was managed by changing the daughter from Anisba to Niveda thomas – she’s more apt in making the impact right than the malayalam girl. I felt Jeyamohan did play within the scope as he was forced to draw on the trace paper above the original picture and he still manages to give something good. The difference was the Thirunelveli dialect used and it was taken care exceptionally well[ Kudos to Director/Writer Suka – creative enhancer ! ]. Hope they don’t take Thirunelveli dialect as a trend setter and dump us with more similar products. We need to remember these enhancements will work if and only if there’s a story n a complete screenplay. [ remember Kadal had the similar dialect n miserably failed without even being understood with the same Jeyamohan ]. Another surprising role was by Asha Sharath – She did a similar sequence of what happens when Badri finds an eye contact between Adhinarayan and Dhanush [ Kurudhi punal :) ]. She precisely portrays the mix of a high rank IPS officer and a little bit mother emotion. There are 2 things which makes the ending apt.. one Kamal silently showing his back [ he rarely does nothing in a frame ! ] when Anand mahadevan share the emotions and he of course slightly goes overboard in explaining his justification.

The entire credit should go to Jeethu Joseph who still managed to control the performances, characters and even Kamal [ to an extent this happened in Thevar Magan too ]. I’m sure that he was not the one who suggested Gouthami for the role :) She never spoke even normal Tamil [ she talks like vaseline applied lips which doesn’t touch each other ]. Jeethu was bold enough to alter the change as per Tamil cinema and of course Kamal [ changing himself as a jovial person as against the serious Christian George kutty ]. I differ when people say it’s lengthy – let the heck it be. What’s the point in involving editor Antony and cutting this film fast ? The audience slowly dissolve themselves into the movie and take up the problem of the character as theirs. That’s the formula. My only worry is that people shouldn’t think the dialect, malayalam remake, dialogues as the success factors n fall for it. It’s the story, script n of course performances.

Cinema success has been decided by family audience [ esp ladies ] and repeated audience. I see both happening to papanasam fluidly and a deserved success for a wonderful creation. Let us not praise Kamal much and make the halo come back to his head again. We need to see him in even more versatile roles [ also more creations from Jeethu ] – my personal wish is to see Kamal in a powerful Villain role ! [ not the bloody “Christian Fletcher” one :) ].

 

நீரோடு நீர்

நீரோடு நீர்

கூரையில் இறங்கி
கோரைவழி விழுந்து
மழை நீரில் நகரும்,
அரைவட்ட மழைக்குமிழாய்
நானும்

நரம்பில் விழுந்து
இலையில் திரண்டு
நீர்த்திரளாய்க்
கீழிறங்கிய
நீயும்
மோதி
நீராய்க் கரைந்தோம் –

நீராலானது நம்
காதல் !

வண்ணத்தட்டு

வண்ணத்தட்டு

மயில் கழுத்து, குங்குமம்,
வெந்தயம், காப்பி,
வெங்காயம், கத்திரிப்பூ,
ராமர், மாம்பழம்,
சிமென்ட், மாந்துளிர்,
அரக்கு, பஞ்சுமிட்டாய்,
கனகாம்பரம், செம்மண்,
சாம்பல்

இவை யாவும்
வார்த்தையாகவும்,
வெறும் பொருளாகவும்
புரிந்திருந்த வயதில்

புடவைக்கடக்காரரிடம் அம்மா,
நிறமானிக்கும் புரியாதபடி
பேசிப்பேசி அவற்றின்
இயல்பு மாற்றியமைத்தாள்
என் வண்ணத் தட்டின்
சிறு வட்டங்களில்,
நிறங்களாக.

*நிறமானி – நிறம் அளக்கும் கருவி

குளத்து படியில்

குளத்து படியில்

நெடுங்கதவு மூடிய பின்
கீற்று வழி நிலவொளியில்
வெளிவந்தனர்
ஒவ்வொருவராக..

மாலை, கவசம், நகை
கழற்றி,
நூறுகால் மண்டபம் தாண்டி,
மகிழம் பூ கொட்டிய மரத்தடி
கடந்து

கரையில் சங்கும் சக்கரமும்
கிடத்தி வைத்து,
பெருந்தேவி ஏதோ கதை
சொல்ல,
எங்கோ வந்த பண்பலை
பாட்டு கேட்டபடி
குளத்து படியில் மீன் கடிக்க
குளிர் நீரில்
கால் நனைத்திருந்தார்

நாளெல்லாம் ஓங்கி உலகளந்து
காலெல்லாம் கடுத்த கடவுள்.