Massu Engira Masilamani (Masss)

Masss

Venkat Prabhu is a man of many ideas – usually very good ideas – which have resulted in a number of successful films. However for his latest release Masss, he tries to cram as many ideas as possible into the first 20 minutes, and then continues to throw in yet more new ideas throughout the rest of the film. Now that’s not necessarily a bad thing, but not all of his ideas work and it’s even difficult to decide if they work or not because the film has already moved on to the next idea! As a result the confusion of the opening scenes feels like trying to cram a year’s work into 10 minutes before the start of an exam. Situations and characters flash by without a chance to work out who is who, what they are doing and how they fit into the story, and if I did have to answer questions on what was going on, I would fail miserably! However it does get better. Suriya is amazing, and his presence holds the film together even through the odd and even more oddly placed songs. The story starts to make sense and the pace slows down to manageable levels with enough comedy and action mixed in to make Masss well worth a watch and much better than the opening sequences would suggest.

Suriya plays Masilamani aka Mass, a con-man and thief who works with his best buddy Jet (Premgi) on a number of overly complicated heists that involve as much theatricality as they do actual thievery. But they make a mistake when they decide to rob a local don who takes exception to their activities. Mass and Jet only just manage to escape, but in doing so they have a serious car crash which has more implications than they first realise.

I had no idea about the story behind Masss and I think it works better when the events that occur are completely unexpected, so I will leave the details of the story there. Up to this point Suriya works his lovable rogue persona well and Premgi is relatively low-key as his best friend. After the first twist (one of many), Premgi takes more of a back seat in the proceedings which is an advantage to the storyline since he doesn’t quite have the acting chops required for such a major role, although his comedy does work well. Suriya takes centre stage and drives the story forwards with an excellent performance and plenty of charisma. There is a double role too, which is perhaps a little clichéd but still works within the format of the story. Plus double Suriya is always a benefit in my opinion (as long as they are not conjoined twins!).

Nayantara pops up as Malini, a love interest for Masss, but she has very little to do and doesn’t even manage a duet with the hero, so her role could have been skipped without too much trouble. She does look beautiful though, if perhaps a little unconvincing as a nurse, but has surprisingly little chemistry with Suriya. However I’m going to mark that down as not having any real opportunity to develop any sparkage due to the briefness of their time spent together rather than any real problem with Nayantara. Vidyullekha Raman makes an appearance as Malini’s friend and actually makes more of an impact than Nayantara, although sadly she too quickly drops out of the story. However they both fare better than Pranitha who appears totally mis-cast, or at least inappropriately dressed with terrible make-up, for her role as flash-back Suriya’s wife.

The film has a huge cast list and there are a large number of good actors who appear as assorted villains or who are part of a group who help Mass later in the film. Brahmi has a brief role as a corrupt doctor in Malini’s hospital, while Samuthirakani has probably the best realised villain role, although even he only appears occasionally. Parthiban manages a little more screen-time as a police officer on the trail of Mass and has some good one-liners while Karunas, Riyaz Khan and many others provide excellent back-up for Suriya. It seems a long time since I’ve seen Rajendran and it’s great to see him here in a small role as a member of the gang helping Mass even if again he only appears briefly.

The second half follows a more linear storyline, even with the flashback portion and the film settles down to an easier pace. What surprises me is that the film received a U certificate given that there is some fairly extreme violence and at times the film is quite frightening for a young audience, although the kids in Melbourne seem to be made of fairly tough stuff and seemed to take it all in their stride.

Masss is a little overlong and the at times it seems that Venkat Prabhu got a little too carried away with his special effect team. There are times when less really is better and there are a few moments here where more restraint would have had a greater effect. In addition, the songs don’t really fit, apart from one during the flash-back sequence and there are perhaps a few too many nods to other films in the screenplay giving the film a more derivative feel than I think it really deserves. However Suriya is excellent and the background score from Yuvan Shankar Raja makes up for any lack in the dance numbers. This is a film to watch for Suriya, the excellent support cast and for Venkat Prabhu’s occasional flashes of brilliance which occur just often enough to give Masss sufficient unexpected twists to entertain.

Nandalala

Nandalala

I’m a big fan of Mysskin and have been slowing working my way through his earlier films whenever I can track them down on DVD. However I put Nandalala at the end of the queue, since it’s a change of direction from his more usual crime thrillers and didn’t sound like my cup of tea. But I should have known better. Nandalala is still very much a Mysskin film with a focus on the dark side of human nature, although this time there are some lighter moments scattered among the social commentary of the film. Even better, Mysskin himself makes an appearance in this film as one of the lead characters and does almost as good a job in front of the camera as he does on the other side.

Essentially Nandalala is a road-trip film with a young boy and a mental patient who has escaped from an asylum both searching for their mother, although their reasons for doing so are very different. Aside from their own journeys, both physical and metaphorical, along the way they meet up with an interesting mix of characters that serve to illustrate the joys and the difficulties of life in rural India. Although it does move at a slow pace, perhaps to go along with the walking pace of the journey, Nandalala is a beautiful film with a heartfelt screenplay and is very well worth a watch.

The story opens with Akhilesh, commonly known as Agi (Ashwath Ram), waiting outside his school. There are 15 seconds of silence while other pupils and their parents’ stream past his downcast head, which is an incredibly effective way to describe his isolation and give a general idea of his circumstances. When Agi does walk home, it’s to a greedy servant and his blind grandmother, both of whom need him for their own reasons. While it’s obvious he doesn’t live in abject poverty, there is little affection and no joy in Agi’s life. His most precious possession is a photograph of himself with his mother as a baby and he takes advantage of a school trip to set off on a journey to find her. Agi seems well prepared with his mother’s address, her photograph and a relatively full wallet, but he doesn’t have any real idea about how to find her. Just to make matters worse he is robbed in the local town and left without the means to buy anything let alone a bus ticket to Annaivayal. His journey seems to be over before it has started but he chances to meet up with Bhaskar Mani (Mysskin), a mentally disabled man who has escaped from an asylum and is trying to find his own mother. Bhaskar is searching for answers, wanting to know why his mother abandoned him to the mercies of the hospital staff and has never visited or contacted him. Despite their many differences, they make a good team as they travel together to find their respective mothers.

In many ways Agi is a typical young boy from a small town. He’s had a sheltered existence and his innocence and loving nature colour his approach to everyone he meets on the road. He is accepting of Bhaskar and his mannerisms, but still manages to become exasperated when Bhaskar does something particularly unhelpful, although this doesn’t change the easy partnership the two share. Ashwath Ram is excellent and plays his part perfectly throughout. His eagerness and excitement as he runs around the village searching for his mother is infectious, while his emotional ups and downs are natural and feel very honest. Agi’s guileless approach to life and his innate practicality are perhaps a little unlikely given his upbringing, but they do mirror a similar innocence and matter-of-fact abruptness in his companion.

Mysskin is surprisingly good as Bhaskar, although he does have a tendency to overact and occasionally over-emphasise some of Bhaskar’s obsessive mannerisms. Initially when in the asylum he continually runs his hand along the wall or the bars beside him in a behaviour pattern that fits well with his character’s mental disabilities, but some of his later actions seem more contrived and don’t fit as well with his mental health issues. However, he does an excellent job of portraying a child-like innocence that has an effect on everyone he meets, and if his sudden rationality at some points seems rather opportune, his moments of insanity never become too over-the-top.

The film is at it’s best when it relies on the situations the two companions find themselves in to drive the narrative, ably assisted by Ilayaraaja’s absolutely beautiful background music. There is little dialogue to draw attention away from the body language, which is much more expressive than any long speeches could ever be, and the songs are equally effective in adding depth and emotion to the film. This is a beautifully sad song that contrasts with the happy attitude of Agi and Bhaskar’s mood swings and general instability. Just perfect.

Snigdha Akolkar appears in the second half as a working prostitute whose presence adds rationality to the story. Initially she is understandably annoyed with Bhaskar and Agi when they drive away her paying customer but later events lead to Anjali accompanying the two on their quest. Her presence allows a glimpse of a softer side to Bhaskar, and gives Agi the opportunity to be just a little boy searching for his mother. It’s a powerful role despite the short screen time and Snigdha is excellent, particularly when she allows glimpses of her characters emotional fragility to escape her seemingly strong and confident presence. Nasser and Rohini also appear in small but very effective roles, and the rest of the supporting cast are all uniformly excellent and perfectly understated.

As with most Mysskin films, there are plenty of odd angles and shots of feet. This is very effective during Agi’s desperate search for his mother but also works to draw attention to the journey itself and the miles walked by Agi and Bhaskar. Mahesh Muthuswami adds his expert touch to make the countryside look sumptuous, whether it’s the plants along the roadside, the luscious green fields or the buildings and villages along the route. It is a beautiful part of the countryside, although Mysskin also points out the shady characters and quick violence that lurks amongst the idyllic scenery.

Nandalala is much better than I expected from the brief description on the DVD. It’s difficult to describe just how emotive the film is without revealing too much of the plot, but as it’s a Tamil film it’s probably obvious that there is no happy ending – or at least not completely. However the film is all about the journey and the relationship between Bhaskar and Agi, and from that point of view it is a resounding success. Mysskin excels in adding small details, such as Bhaskar’s stolen shoes that he wears back to front, that add depth and interest to his story and characters. I love this film just as much as his thrillers and am impressed that Bhaskar can turn his hand to such a different style of story so competently. It’s also commendable that he has not only written and directed the film but also acted in a major role without stealing the limelight or making it all about ‘Bhaskar’s story’. It’s probably not for everyone; there is no ‘action’, no comedy track and no big dance number, but the simple emotions and finely nuanced performances make this one for fans of more character driven cinema. 4½ stars.

Polladhavan (2007)

Polladhavan

Frustratingly the only copy I have ever been able to find of Vetrimaaran’s debut film is a relatively poor quality VCD  that doesn’t have English subtitles. It’s particularly annoying knowing how well written the dialogues were in Aadukalam (even via subtitles) and I’m sure there is much I have missed in Polladhavan as a result of not understanding the language. However the story is still clear and easy to follow, with plenty of scenes that suggest a similar attention to developing the flawed characters and their relationships as in Vetrimaaran’s subsequent film.  Although there is much that initially seems familiar about the story, as the film progresses it breaks away from the typical gangster film mould and becomes as much about family as the struggle between Prabhu (Dhanush) and the gangsters who have stolen his beloved motorbike. There is plenty of tension and suspense, and the path to the final bloody showdown is rather more convoluted than expected. It’s a good story, entertainingly told and really deserves to be more readily available to a wider audience.

Dhanush appears in his by now very familiar role as Prabhu, an unemployed layabout, content to spend his days playing carom and hanging out with his friends Kumar (Karunas) and Sathish (Santhanan) or annoying the local bike dealers by repeatedly viewing a Pulsar motorbike. He has no hope of ever being able to afford the object of his desire but continually attempts to get a cheaper price along with a long instalment plan for payment and seems convinced that he will one day be the proud owner of the latest model. Nothing wrong with having a dream!

Prabhu is at odds with his father (Murali) who wants him to get a job, but is supported by his mother (Bhanupriya) who slips him money behind her husband’s back. There are the usual family arguments about money and Prabhu’s failure to contribute to the household, but things change after Prabhu confronts his father following a drunken night out. Prabhu accuses his father of not supporting his attempts to find work compared to his friends whose fathers who have paid bribes or bought them a start in their chosen career. Although this seems a very strange argument to me, it strikes a nerve with Prabhu’s father and he cashes in the money set aside for his daughter’s wedding and gives it to Prabhu instead.

Naturally Prabhu immediately goes and buys the bike.

What is interesting is the way this argument and Prabhu’s subsequent purchase of the motorbike change the family dynamic.  While Prabhu’s mother accuses him of wasting the money, Prabhu’s father supports his son’s right to do whatever he chose, even if he doesn’t agree with that choice. The family arguments feel realistic and plausible and Prabhu’s conviction that his bike will help him get a job seems typical of any young man in similar circumstances. Body language is key and Vetrimaaran uses different angles and distance shots to convey the changing relationships. It helps give the film an authentic sense of a typical family which makes the subsequent scenes of violence a complete and striking contrast.

Amazingly Prabhu’s purchase has the desired result and he manages to get a job, further aiding his reconciliation with his father. The development of their relationship is shown in small moments such as when his father chases away the neighbourhood children playing on the bike, or by his father’s smile when he sees job adverts circled in the newspaper.  It’s effective and develops relationships while avoiding a big family make up scene that would only have interrupted the flow.

As well as dreaming about owning a motorbike, Prabhu has spent the last 2 years infatuated with a girl he sees at the local bus stop. The bike and his job give Prabhu the confidence to finally approach Hema (Divya Spandana) and after a shaky start the two begin a relationship. However, after a good beginning with plenty of humour and promising signs of a personality for Hema, once the action ramps up the romance is relegated to the background with Prabhu’s first love (his motorbike) taking precedence in the story.

As things are going well for Prabhu, in a semi-parallel storyline local gangster Selvam (Kishore) has problems with his younger brother Ravi (Daniel Balaji). Selvam deals in drugs and is involved in various other illegal activities as he runs his area with help from his best friend Out (Pawan). Ravi wants a bigger role in his brother’s endeavours despite his quick temper and apparent general unsuitability for any responsibility. Prabhu crosses paths with Ravi a few times in chance encounters, but most notably on a night when the gang is involved in a murder and Prabhu’s bike is stolen. The two events may, or may not be connected but Prabhu really doesn’t care – he just wants his bike back!

Some of the best scenes occur when Prabhu’s search takes him to different crime operations with a fascinating look at how bikes can be hidden and smuggled around the country. These brushes with the shady side of Chennai bring Prabhu into closer contact with Selvam and his brother Ravi, and the situation escalates as Prabhu discovers exactly what has happened to his bike.

Dhanush gets everything just right here in his portrayal of a young man gradually developing maturity and responsibility but easily distracted by events around him. His spiral into violence is clearly shown as a reaction to circumstance with the infatuation with his bike a convincing reason for the decisions he makes. I had friends who were just as obsessed with their bikes (and I have to confess to a certain amount of obsession with my own!) so it totally makes sense to me that Prabhu would go to such extremes to get his bike back. Ravi is a more typical Tamil film gangster, but his brother Selvam is an interesting character who seems to be a ‘gangster with a conscience’. The interplay between Ravi, Selvam and Out is well done, and once Prabhu is added in to the mix, the story evolves quickly with plenty of suspense thrown in for good measure.

 The final scenes revert to more typical gangster film fare with the inevitable final showdown, but Vetrimaaran keeps it interesting by giving his bad guys realistic personalities and reasons to act in the way they do. The fights are short, bloody and more convincing than usual which also avoids sensationalising the gangster element of the story. Although there are a few fights where Prabhu defeats 3 or 4 henchmen, at least it is only 4 rather than 20, and Ravi isn’t a big burly guy either so his fight sequences with Prabhu seem slightly more credible. Apart from the rather Salman Khanesque way Prabhu loses his shirt in the final fight, which is a little OTT but is also a lot of fun too!

While the fight scenes work well, the songs are less successful. Although the music by G.V. Prakash Kumar is catchy enough, the picturisation and choreography are generally mediocre and mostly the songs don’t fit well into the narrative. However the rest of the film looks good, at least from what I could see from my poor quality copy, and the strong cast all deliver good performances. Vetrimaaran’s strengths lie in developing characters with depth and attention to detail in building relationships, and both are used to maximum effect here.  The story may not always flow as well as it could but when it comes to the characterisations and the overall plot, everything works perfectly. The screenplay rarely lags and there are enough twists and surprises to keep the film engaging right to the very last frame. While Polladhavan may not be perfect it is a great first film for Vetrimaaran and well worth watching for a gangster film with a difference. 4 stars.

Anegan

Anegan

Somewhat ironically I had to wait until I got back to Australia to see KV Anand’s latest film despite spending the last few weeks in Tamil Nadu.  I was keen to see Dhanush in a triple role, since the trailer looked promising and three times as much Dhanush can only ever be a good thing! I also loved both Ko and Ayan, and was hopeful that Anegan would be a return to KV Anand’s earlier form after the disappointment of Maattrraan. And overall I wasn’t disappointed with Anegan. The first half is a little slow, and Dhanush’s really quite terrible wig in his first incarnation is rather distracting, but the second half is much better with an improvement in the main relationship and some good plot twists. Although the story doesn’t really get going until after the interval, catchy songs, some stunning visuals and an entertaining story make Anegan well worth a trip to the cinema.

Anegan opens in Burma of the early sixties and tells of a romance between a Tamil labourer Murugappa (Dhanush) and the daughter of a high-ranking official Samudhra (Amyra Dastur). It’s all fairly typical stuff, including a damsel in distress and daring rescue scene, secretive meetings in full public view and the stiff parental opposition you would expect. What never fails to amaze me is how young Dhanush can appear to be when required – a shave plus a bad wig and suddenly he looks sixteen. Here he appears younger than his co-star despite her giddy antics and plaited pig-tails, and maybe that’s why the romance never seems to sizzle. It’s not the best start for a love story that is supposed to be strong enough to span time and involve a number of reincarnations, but there is a sweet song and at least the lead pair look reasonably cute together. Naturally fate intervenes when the military coup forces most of the Tamil workers to leave Burma and Samudhra tries to escape her abusive family by tagging along with the general Indian exodus.  However Samudhra’s escape is foiled by Mallika (Aishwarya Devan) who is jealous of Samudhra’s relationship with Murugappa and things don’t end well for the star-crossed lovers.

Fast forward to the present day, where Madhu (Amyra Dastur again) is undergoing regression therapy to help her deal with the stress of her job in a large gaming company in Chennai.  The story of Murugappa and Samudhra is revealed to be her ‘memory’ of a past life and Madhu is convinced that the different incarnations of Murugappa she remembers mean that he is her soul-mate, and that they are destined to finally be together. The previous lives she remembers all have the two separating in quite horrible circumstances, generally involving murder and death, but this possible outcome doesn’t seem to worry her at all. Instead Madhu’s only concern seems to be that she hasn’t managed to meet her ‘soul-mate’ so far in her current lifetime.

Naturally that is remedied almost immediately and Madhu meets Ashwin (Dhansh again), an IT expert, also working for the same company. Yet again he’s from a lower class family but unlike Madhu, Ashwin has no memories of a past life and very little interest in Madhu other than as a work colleague. But soon event start repeating – Ashwin steps in to save Madhu from serious injury, and co-worker Meera (Aishwarya Devan again) is a potential rival for Ashwin’s affections, while Madhu is relentless in her pursuit of Ashwin as her long-lost love.

For most of the first half Madhu is erratic and completely annoying as she veers between bratty rich girl behaviour and total mental instability, although I put most of her crazy psychotic behaviour down to the drugs she is taking from her therapist mixed with the natural remedies from the family’s guru. Her attitude makes her a rather unlikeable character for most of the first half and her attempts to convince Ashwin that they are MFEO should have been enough to see him run for the hills. But instead he seems to suffer from a similar mental disorder and for no particular reason at all (unless it’s her inherited millions – which would at least make sense!) Ashwin decides that he’s in love with Madhu.

Thankfully Madhu becomes somewhat less irritating in the second half. The film moves back in time again while she relives her past life as Kalyani which turns out to be one of the best parts of the film. Perhaps the effect of the wigs wears off after prolonged exposure, but Dhanush’s Kaali is vibrant and likeable while Kalyani is less naïve than Amyra’s other incarnations, leading to some definite sparkage between the couple. The present day scenes also step up a pace in the second half as Ashwin and Madhu work with Commissioner Gopinath (Ashish Vidyarthi) to find out what happened to Kali and Kalyani and Madhu’s boss Ravikiran (Karthik) starts to take an interest in his employee’s mental deterioration. Dhanush is excellent throughout and makes his three separate characters (four if you include one who only appears in a song) quite distinctly different personalities. Murugappa is sweet and innocent, Kaali is a rough and tough rowdy with a heart of gold while Ashwin is the quintessential computer nerd, who still manages to fight like a pro, filmi style. Ashwin provides the thread that binds them all togther, but the most successful is Kaali, and Dhanush looks as if he is having the time of his life dancing and singing through the streets in a mesh singlet!

Anegan is a good blend of romance and action with a reasonable thriller element woven into the story, and generally strong characterisations. There are a few totally unrealistic moments, Madhu speeding through the traffic in Chennai is one (hah! nope – couldn’t happen in Chennai traffic!), and the attempts to make Ravikiran a hip and trendsetting boss fall rather flat, but mostly the screenplay from KV Anad and Subha works well.  Amyra is rather overshadowed by Dhanush and her theatrics in the opening scenes are particularly wearing, but she does improve as the film progresses. Aishwarya Devan is better is her small role  and it’s a shame she didn’t have a longer time on-screen. The rest of the supporting cast including Jagan as Ashwin’s friend and Mukesh Tiwari as Madhu’s uncle are all good, and Om Prakash ensures the film looks stunning with the scenes in Burma particularly well shot. Harris Jayaraj’s songs fit the film well and the background music is also excellent. Overall the film mixes plenty of action, comedy, suspense with the romance, and even if the story is fairly predictable the different incarnations of the lead characters ensure the story feels fresh and engaging. Anegan may not be quite in the same league as Ayan, but it’s definitely a large step in the right direction and well worth a watch –  and not just for the multiple incarnations of Dhanush!

Mouna Ragam (1986)

Mouna Ragam

If you’re in the mood for a classic love story with just a touch of mushy sentimentality, you can’t really go past Mouna Ragam. Mani Ratnam’s beautiful 1986 film takes an arranged marriage between a compliant groom and a reluctant bride as the starting point for a look at relationships and how two strangers can learn to live with each other. It’s well worth watching for the excellent performances from the main leads, Mohan, Revathi and Karthik, but also for the simple but effective storyline and wonderful music.

The story follows Divya (Revathi) a fairly happy-go-lucky student whose world is shattered when her family arranges her marriage. The groom is Chandrakumar (Mohan) and even though Divya lists all her worst qualities on their uncomfortable first meeting, Chandra likes her honesty and decides that she will be the perfect wife for him. The opening scenes add to the realistic feel of the film as they illustrate just how young Divya is, playing tricks on her older sister and husband, and showing her simplistic and childish ideas to counteract the unwelcome marriage proposal. However, against all her objections, Divya is pressured into the wedding by that age-old family drama – a threatened heart attack / medical collapse. Divya is just as susceptible as every other film heroine and without further ado her husband whisks her off to a new life in Delhi.

The relationship is shown as difficult right from the start. As Chandrakumar shows Divya around his house in Delhi after the wedding, Divya’s body language makes it obvious that she doesn’t want to be there, while Chandrakumar is clearly feeling the hostile vibes but trying to be as welcoming as possible. This awkwardness seems exactly what I would expect from two strangers suddenly having to live together and Mani Ratnam has captured their uneasiness perfectly. I don’t know, never having been through it, but this seems to be a plausible reaction to the abrupt intimacy between two people who have only just met. It’s thought-provoking and one of the things I love about the film, that just a few moments can invoke such a complicated emotional response from me.

Despite her classy new abode, which is a world away in size and conveniences from her family home, Divya is very unhappy with her marriage. So much so that when asked what she would like most from her new husband, her immediate answer is a divorce. This is a pivotal scene and it’s beautifully played out by Mohan and Revathi. Chandrakumar’s shock and hurt are palpable while Divya appears to be no more than a sulky school girl trying to be as obnoxious as possible.  Needless to say as a rejection it works well, and since she follows it up with more nasty remarks it’s to his credit that Chandrakumar manages to keep his cool. This is the turning point of the film for me with Chandrakumar’s character partly due to his emotional responses (which make me feel sorry for him), and partly because he shows more personality in interactions with his work colleagues. It’s an important change since up until this point he’s fairly bland and unexciting, making Divya’s reluctance to go through with the marriage relatively understandable. But Chandrakumar seems a good catch. He’s got a good job, a nice house and is considerate and understanding, particularly when faced with Divya’s immature taunts. With just a few simple scenes, Mani Ratnam turns the story around, and suddenly it’s Divya’s reactions and inability to make the best of things that become difficult to understand and instead of wanting her to get divorced, I want Divya to fall in love with Chandrakumar and be happy in her marriage.

Eventually Chandrakumar asks Divya exactly why she is so against the idea of their marriage (possibly something he should have done before the wedding), and she tells him about her first love Manohar (Karthik), who was killed just as they were about to get married. The story of Manohar and Divya is told in flashback and although Karthik only has a small role, he’s an excellent romantic partner for Revathi and the two share great chemistry together.  The difference between the two relationships stands out clearly. Divya and Manohar have a light and happy relationship, their scenes together are full of life and there is a sense of energy that is missing between Divya and Chandrakumar. Karthik is very appealing here as the quintessential ‘bad boy’ who is of course not really bad at all. However, while the romance is well told and Divya with Manohar is happier and nicer person, she also seems quite mature, which seems at odds with her juvenile responses to Chandrakumar, and her earlier carefree attitude as a student.

In the face of such strong contempt from Divya, Chandrakumar tries to arrange a divorce, but the law states that the couple has to be together for a year before they can apply. Naturally over this time Divya comes to see the good side of Chandrakumar and slowly develops feelings for him, while Chandrakumar gets a little of his own back by throwing her earlier remarks back at her and ignoring her attempts to be more friendly. This being a Tamil film it’s not guaranteed that there will be a happy ending, and the developing relationship is compelling viewing as the deadline for the divorce looms.

There is so much to enjoy here. Revathi is excellent in her role as Divya and her self-realisation and development of maturity is captivating. Initially she lets her emotions track across her face just like any young girl and her petulance and hostility is perfectly nasty. Just think of how obnoxious any group of schoolgirls can be – that is exactly what Mani Ratnam has captured here. With Divya’s slow acceptance of her husband there is a softening of her expressions, and when the realisation of what she has done sinks in there is maturity in her actions too. However she is still a young girl at heart, as shown by the tricks she plays on the driver Sanjit Singh. I love the way Mani Ratnam emphasizes her isolation by moving the couple to Delhi where Divya cannot understand the language and is confused by the cultural differences. It adds to the problems she has and ensures that she has to resolve her problems by herself. There is no convenient family or friend to help her, although the lack of interference from Chandrakumar’s family is a little surprising.

Mohan is just as good and although his Chandrakumar initially seems too perfect to be true, he becomes more human and therefore more likeable in the second half. He does an excellent job of portraying a ‘nice guy’ and has just the right amount of revenge on Divya without becoming cruel or spiteful. He’s an ideal contrast to the passion of Karthik, and I kept thinking of the old proverb ‘still waters run deep’ when the camera focused on Chandrakumar’s patience and tolerance.

Although the story is nothing new it’s beautifully told using a simple style with well developed characters and situations. As an added bonus the music by Ilaiyaraaja is excellent and this song Nilaave Vaa, sung by SP Balasubrahmanyam is just beautiful.

Mouna Ragam rightly deserves to be called a classic and despite the fact that I know what is going to happen, I get drawn into the story every time. Each character is perfectly drawn, the actors all fit their roles easily and there is none of the overblown melodrama which usually infects similar love stories of the time.  It’s one of my favourite romances, and I thoroughly recommend watching. 5 stars.