Spoilers ahead…
An early scene in Nelson Venkatesan’s Oru Naal Koothu depicts the first step in an arranged-marriage scenario – the girl is presented to a young man and his family. The song on the soundtrack threw me for a second. It’s a retuned version of Gopalakrishna Bharathi’s Eppo varuvaaro, and it seemed like preposterous overkill, comparing Lakshmi’s desire for a groom to a devotee’s yearning for salvation at Shiva’s feet. But slowly, Lakshmi’s plight does assume monumental proportions. Years pass. Prospective grooms come and go. And yet, nothing. Her father rejects everyone. At one point, Lakshmi runs into a friend from college, a girl who encouraged her to grow a spine, not be so timid around men. Now, she’s divorced. It’s not a message. It’s just a glimpse into a different kind of marriage. The friend has a bus to catch, but Lakshmi pleads with her to stay. She’s tired of being at home, with no one to talk to. So they sit and chat. They make a lesbian joke and laugh. This isn’t about political correctness. This is about Lakshmi needing to laugh.
Then we have Sathish (Ramesh Thilak) and Sushila (Riythvika), who work as RJs – but they’re not together, at least not at the moment. Like Lakshmi, Sushila wants to get married and is tired of questions about why she’s still single. But unlike Lakshmi, she has a profile up on a web site. There’s hope –marriage may just be a mouse-click away. You’d think Kavya (Nivetha Pethuraj) has it easier – she has a boyfriend, Raj (Dinesh), even if he’s “poor boy” to her “rich girl.” But again, problems. He’s not ready for marriage. And how long can she wait? She begins to wonder. She loves Raj now, but will she be happy with him in the future? Should she wait it out? Should she move on? He accuses her: “En mele unakku nambikkai illai.” She says, “Un situation mele enakku nambikkai illai.” It’s a great line, a very perceptive line – it underlines the difference between being romantic and being practical. The dialogues are low-key, measured, casual, conversational. Raj admits to something I’ve never heard from a leading man in a Tamil film. He says he doesn’t like his family very much, but he’s helpless, he’s bound to them – because they like him. Oru Naal Koothu is the rare Tamil film that portrays human relationships as necessary, yet complicated.
You’d think Kavya’s father is the bad guy. After all, he produces before her someone from their social class, an “America maapillai.” But the film doesn’t judge him. He’s just presenting his daughter with an option. It’s still her choice. The film doesn’t judge him – and neither does it judge the man who, after his engagement, has doubts and wants to call it off. A lesser film would have made him a cad who smokes and sleeps around. Here, he’s just scared, confused. After last week’s Iraivi, here is another film that’s about women and yet treats its flawed men with compassion. (And there’s much more of K Balachander here than in Iraivi, which opened with a dedication to the late filmmaker.) Oru Naal Koothu keeps intercutting between these stories (there’s also the character played by Charlie, a middle-aged man who never married) – and these transitions are beautifully done, a combination of a good screenplay and good editing. The director opens with high drama (Raj is missing!) and he closes with high drama (an accident! a bride stranded!). But elsewhere, despite the numerous opportunities for raised voices and tears, the director keeps an even tone, delegating the hysterics to the background score (Justin Prabhakaran, whose songs, especially Adiye azhage, are quite lovely). Beats of the thavil punctuate scenes like 48-point-size exclamation points.
The women give solid performances. Nivetha Pethuraj nails the cool entitlement of someone who hasn’t really known a tough situation, and isn’t sure what to do when she stares at one. Riythvika vacillates convincingly between the forced cheer when on air and the desperation when off it. (You may wonder if marriage is the only thing on the minds of young, urban, educated women. But the film isn’t making a larger point. For these women, it is.) And Mia George is particularly effective as the meek girl who won’t raise her voice and ask her father why he’s making her life hell. (Her sister has to step up and question the old man.) Her flight to freedom, under these circumstances, comes off like a Devayani-starring version of Escape from Alcatraz. The men, on the other hand, don’t register as strongly. Dinesh is back in Attakathi mode – only, far less convincing. The voice quivers like a seismograph reading, but the face remains frozen. He may be one of those actors who needs a good director to deliver a good performance.
Some of the loud comedy (courtesy Bala Saravanan), though amusing, is out of place in such a delicately textured film, but the only real problem comes towards the end, when the various strands come together. There are some ridiculous contrivances, almost as if the director realised he’d made far too “realistic” a drama and wanted to shake the audience up all at one go. Suddenly, the film turns ultra-cinematic, with unearned twists. Still, I walked out appreciating the director’s determination to not opt for easy happy endings. At this point, he’s better at character development than plot development – but that’s no small thing. And individual scenes are directed very well. Note the stretch where Lakshmi gathers some guts and calls a man who said he liked her. She steps out of the house. She dials his number. He doesn’t pick up. She goes back inside. Then he notices the missed call. He calls. Over the sound of the ringing phone, we see her scurrying out again. It’s like a little dance of life.
KEY:
- Oru Naal Koothu= (just a) day-long circus
- Eppo varuvaaro = see here
- “En mele unakku nambikkai illai.” = You have no faith in me.
- “Un situation mele enakku nambikkai illai.” = I have no faith in your situation.
- maapillai = groom
- Iraivi = see here
- thavil = see here
- Escape from Alcatraz = see here
An edited version of this piece can be found here. Copyright ©2016 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Kay
June 10, 2016
FINALLY, someone has commented on Attakathi Dinesh’s frozen expression!
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CHENTHOOR
June 12, 2016
Sir you need to go for acting classes and learn some gibberish from muthu sir. Watched your YouTube review of this movie. congrats on becoming an actor. This is the problem with going on screen. The critic gets reviewed. Just for variety sake you can do the videos in Tamil. And please don’t give up writing on becoming a star.😉
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brangan
June 12, 2016
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Harish S
June 14, 2016
I made a mistake of reading the review before watching this film. So many scenes seemed ordinary, but when I remember your commentary, it became exceptional. One example is the bus-stop chat scene. If I hadn’t known your commentary on it, I would have passed it off as a filler scene.
Now contemplating whether this is good or bad.
PS: writing this will slight insecurity that I wasn’t able to think on those lines.
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Arun
June 17, 2016
A very interesting film this was. This was supposed to come out all those months back and yet it somehow found its place to release after Iraivi – strange are the ways circumstances work out. Now lets just take the cinema out of Iraivi and view the characters of the two movies for what they are, they are essentially quite similar in many ways in that the male is quick to anger and thought and the female always bears the brunt of the decisions he takes – yet the way both movies plot this character arc of the females is pretty damn good. While one opts for slow burn for the raging fire towards the end, the other just keeps building on the small turns over and over again that it actually makes the women more malleable. Also, isn’t it funnily coincidental how the men in both the movies are portrayed as quick to anger and quick to executing their thoughts and not holding it back and think through things?
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Arun
June 17, 2016
Oops. Sorry for repeating myself 😀
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Rahini David
June 17, 2016
You know this movie sounds more worthy of the line “a feminist movie with no you go girl cliché”
It gives the chance for a couple to discuss their future without going all ‘pombalaingalea ipadi thaan’ on us. It shows her situation too. That is pretty much what a movie about women should be like. In fact it is what any movie should be like, imo.
It is not about what women undergo when their men turn out to be devils. It is more about what women undergo because they are women.
And we don’t want solutions. In fact a neat cinematic solution like “learn English, earn respect” undermines the actual problem. Show the problem to the audience. Let them mull over the problem and come with their own solutions. Not many movies take that approach.
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tonks
June 18, 2016
Stopped reading halfway through when I suddenly realised I wanted to see the movie, but it was a lovely, perceptive review till then. Also, great comment, Rahini.
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Rama Krishnan
July 9, 2016
Just finished watching this and came back to check how you felt about the film and was a tad disappointed to see a fairly middling review. I had so many positives to take – finally something resembling a real, casual IT environment depicted in reel, characters who stayed true to their arc during the entire length of the film, superb music and perfect placement of the songs, real craft in terms of direction rather than doing it by numbers. Yes, the climax was extremely contrived but heck, atleast there weren’t happy endings all around to pander to the producer and distributors’ wishes. At a little over 2 hrs, I was thoroughly entertained and never had to reach out to check the time which is saying a lot given what passes off as “enjoyable” (yes, I am in shock that you actually liked Sultan). Nelson Venkatesan has earnt a ticket from my side to his next film even if he repeats Attakathi Dinesh !!
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Prasanna
July 9, 2016
Saw this today on a pay per view site. Stopped it half way, went out for daily chores and watched the remaining. That’s the problem with first half. It feels stuck. But except for that and the cinematic climax, everything else worked for me. I would watch such movies, where the story flows and in all directions ( Kaunas, charlie, Mia friends etal. )
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Gayathri
July 11, 2016
A real pleasure to watch a clean movie. I guess since it is a low key movie, the review was not elaborate as it rightfully deserved. The settings and all the houses seems to be real and the cast and makeup are perfect. I liked the way the story flows and the strong characterization. No one is bad, but they are just being practical. Yes, as you said, the ending is cinematic at least it is not a disastrous happy ending. But one point I felt is since RJ girl had sex before marriage there is not a (suggested) good ending in her life. Will Tamil cinema ever grow to accept that. Maybe some day. It has come so far as to boldly showing the girl taking her ex lover for wedding shopping and before leaving for her wedding she passionately kiss him. So, there is some hope yet.
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Uma
July 16, 2016
I watched it on Tentkotta and really loved the movie. I liked it better than Iravi. I remember growing up in India, how everyone was expected to get married. For girls 25+ who was not yet married was such an big issue. I remember all the relatives talking all the time about some of my cousins who were not getting married. Looking at what Mia George and RJ characters go through, now I realize how difficult it must have been for cousins. The only problem I had was with climax of how Kavya got married to somebody else. Maybe that was for some shock factor. Other than that, this movie was so realistic. Even in this day and age, the main thing on the mind of urban, educated girls is marriage. Heck, even Sania Mirza gets asked about when she is going to settle down. Hope things do get better someday.
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brangan
July 16, 2016
I get the feeling people think I haven’t been appreciative enough of this film. Re-read the review and I find I’ve said mostly nice things. The only real reservation I had was with the hysteria at the climax.
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Aadhy
August 3, 2016
Just caught up with this movie, surprised to see there are just 13 comments here. It was such a refreshing movie. Especially the breakup date-cum-wedding shopping sequence was so well written. I agree with the problems listed by BR: ridiculous contrivances, the in-your-face score and loud comedy, although this gem of a line did make me go ROFL “Sangocha koocham saapatuku daridhram”. But there was one more thing that was completely distracting, atleast to me.
I understand that the director has used the color yellow as a leitmotif to ‘Mangalyam/marriage’ in this movie, and/or maybe to point out the irony that not everything in the leading women’s life is going ‘mangalagaram’. But he totally goes overboard in its usage. I mean, there is yellow, yellow and MORE yellow. You can literally count the number of frames that does NOT contain yellow props. When it isn’t yellow, it’s some other bright color or the frames themselves are lit in gold-ish yellow.
The use of these garish colours does not fit with the restrained nature of the proceedings. This just yanked me out of the mood and turned the whole viewing experience into a yellow-spotting exercise. Coffee mugs, hoardings, photo frames, clothes, flowers, ID-card tags, bags, washing lotions, bananas, plates, wallpapers, turmeric … they’re just everywhere. However I did love a few of those yellows, one of which comes in the “Eppo varuvaro” song, exactly at 2:53. It shows a selected menu option in a computer, lit in yellow, and the option is “About us”. Nice!
Another favourite yellow of mine comes in the “Adiyey azhage” song below, precisely at 1:37. Dinesh gets down from his bike as the camera dollies out, and exactly when the flickering yellow headlight comes into the frame, she walks away from him, kind of indicating what is to happen.
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Jyoti S Kumar
September 12, 2016
I just watched this movie and the first thing I did was to check what BR sir had to say about it. And I am glad to see the scenes which impacted me were there in the review. Especially the bus stop scene. It reminded me of college days with the gals cracking jokes… And the way the offices and bosses are portrayed is also very realistic. Finally! The climax may seem contrived especially Kavya’s wedding. But when the accident happened I was thinking, no Raj should not get married to her now… Not like this… Otherwise this will be a big elephant in their bedroom. So I was pleasantly surprised that my thoughts were echoed in Kavya’s words. Practically what happened was right, but emotionally I felt so bad for Susheela. And even after hours of watching the movie, if it has made me think so much, then I believe the director has succeeded – imo
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Ramchander Krishna (@ramctheatheist)
February 3, 2017
Just watched this film today! Brangan, I like how you’ve mentioned that this film is more Balachanderish than Iraivi. 3 terrific moments for me.
The bus-stop conversation where the friend casually talks about her husband marrying another woman. “Innoruthiya kalyana pannikkitta ippo enna? Naan paarthadha dhaane avalum paakka pora.”
When Mia George is on the terrace and her friend advises her to talk to the prospective groom she says “Manasukku pidichadha sei. Nee settha appuram unakku yaarum selai vekka poradhilla.”
After having sex in the hotel room, as Rithvika lies in bed with the RJ she says “Idhukku ivlo aarpaattam! Avlo dhaan la? Nalla dhaan irukku.”
I felt just for these 3 moments, this film deserves a standing ovation. It’s thousand times bolder and thousand times more contemporary than Iraivi! And much more penetrating. The dialogues especially were casual and penetratingly sharp. All the meta of Iraivi in comparison feels like the oil sticking onto newspaper from which you eat bajji. And Oru Naal Koothu is a film that once you begin chewing transforms from bajji into a needle inside your throat. And it plunges really really deep into the society’s fabric.
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