K Balachander’s 1979 movie is a remake of his own film, Avargal. Jayasudha and Kamal Hassan star and Chiranjeevi plays an important supporting role. It’s a sensitive and even handed look at relationships and standing up for yourself. The film is on YouTube without subtitles so bear with me as I have done my best to interpret what was going on.
Suhasini (Jayasudha) and Bharani (Sarath Babu) fall in love through a montage of the arts – he plays flute and she dances. They have a nice bond, he is laid back and she is very playful. But Bharani leaves town for work and he never replies to her letters. Sugunakar Rao (Chiranjeevi) moves in on Suhasini. He is superficially charming but once they are married he is controlling and abusive. In due course she leaves him and gets a divorce. He is clearly bitter but she leaves town to start her new life with their child. She finds an office job and makes new friends. Her coworker Janardhan/Johnny (Kamal Hassan) is particularly kind and considerate. He’s a ventriloquist so that set some alarm bells off because…just because. But Bharani is still on her mind. And now, he is just across the way as the apartment Johnny helps her find is right near his place. There is definite interest on both sides but she is more cautious and has a child now, and he lacks any sense of urgency and he has his friend Gayatri (Saritha) to consider too. And then Sugunakar Rao is back in the picture as Suhasini’s boss. He wants to reconcile and seems to have reformed. Suhasini has to decide what to do with her life.
I really enjoyed watching Jayasudha’s performance and Suhasini as a character. And on a very shallow note, her print sarees are wonderful too. She’s a lively young woman with a passion for dance and music, but she’s quite happy to get married sensibly because that’s what you do. When Sugunakar turns out to be a total arsehole, she does her best to tolerate him. But when he pushes her too far, she pushes back. In one scene she fantasises about stabbing him in the groin with his darts, and she does tell him to his face what she thinks of his behaviour. When she moves back to Chennai she seems to be accepted and liked in her new circles. Having a child isn’t a barrier to her getting a job and she makes the most of her new start. I got the impression Suhasini is not completely open about her situation but she certainly isn’t hanging on to her past. People, especially women, help each other in both big and small ways. Suhasini acquires a mysterious new maid (Leelavathi), actually her mother-in-law who had never met her.
Chiranjeevi is impressive as the horrible Sugunakar Rao. I think Chiru got on the bad side of the wardrobe team because those pants…He is charming but only as long as he gets his own way. He criticises Suhasini constantly and threatens her, smiling as he throws darts at her head or snarling as he tells her to give up dancing. One thing I always appreciate in these negative roles that Chiru took in his early career is that he doesn’t hold back on showing the full range of emotions, no matter how unlikeable or ugly. He is a fine dramatic actor under all the Megastar trappings. His mother (Leelavathi) finds out from a servant that the marriage was over and that Suhasini and their son were in another city. I couldn’t work out how he managed to keep everyone in the dark but I think he might have told her Suhasini was dead. Anyway, despite the filmi tradition that demands a Ma must support her boy, she is firmly in Team Suhasini and keeps working secretly for her daughter-in-law. That is how bad Sugunakar Rao is. He recognises mild and indecisive Bharani as a threat so he plants a seed that Bharani and Gayatri should marry. He belittles Johnny as he doesn’t compute the nice poor guy could be a rival. When he tries to ingratiate himself with Suhasini again he is almost believable as he clucks over her health and sends her fresh fruits. Almost.
Johnny (Kamal Hassan) has taken a shine to Suhasini too, although she only seems to have eyes for Bharani. Personally I’d pick the one who didn’t have a ventriloqusist dummy as his housemate. But Johnny is sweet and does things to make Suhasini happy without expecting any repayment – he finds her a flat, gets her movie tickets to a house full show, helps with work. He can’t articulate his feelings so he uses Junior to talk about his love. Of course, Suhasini treats it as a joke rather than a heartfelt confession. He’s well liked at work but a lonely soul underneath it all. Kamal Hassan isn’t challenged by the character except that the ventriloquism shtick calls on his physicality and control as he manipulates the doll while appearing to be oblivious to Junior’s shenanigans.
That weird clown song is completely unnecessary but when you have Kamal Hassan I suppose you’d be mad not to. And it lets him work off some energy that might have lead to overacting. His farewell scene with Suhasini was also unintentionally funny as he ran beside her train faster and for much longer than seemed possible, speechifying all the while.
Leelavathi and Sarath Babu are both good in their roles. But Bharani is so mild and understanding to the point of not seeming to care that he doesn’t give Suhasini any confidence and he kind of fades compared to Chiru and Kamal Hassan. Leelavathi’s Ma is an interesting woman who is prepared to believe evidence rather than continue to idolise her son. She makes decisions that are about how she wants to live her life and what she thinks is important. She’s a crier, but she gets things done. And she is the one to finally free Suhasini from her connection to her son.
Balachander uses some camera gimmicks and the ping pong analogy, and some shots are a little too composed to be natural, but generally the style of storytelling is low key and credible. Even the final comeuppance. Although I wish I understood the symbolism of the lion mask and the Mona Lisa. Oh well.
See this for some early career Megastar, a pared back and heartfelt performance from Kamal Hassan and a lovely role for Jayasudha. 4 stars!
Did you see another film of Balachander’s, Antu Leni Katha (Endless Story). It is also Telugu and may have been Jayaprada’s first or at least very early film. She is the protagonist. It also has Rajnikanth in an early Telugu movie — he is Jayaprada’s main foil, so it’s a substantial role. Kamal Hassan has a guest appearance which can be interpreted as a “hero” role, if one is really hung up on such labels, but the film really doesn’t fit into such a standard framework. It has all the typical Balachander touches of his 70’s films — strong female roles, strong social message, and only a few gimmicky touches. 🙂 He seems to have had a thing for characters who cannot articulate their feelings in words, and so must find other means to express themselves. It’s a very nice film on its own merits. But it’s memorable in my personal history because it was the first time I saw Kamal in a film. Though he was only on screen for about ten minutes, my reaction was, “Who’s that guy? I want to see more of his films!” so I waited through the complete credit list at the end to find out his name.
No. I’ve seen Aval Oru Thodar Kathai but not the remake.
And who were the cast in the Tamil film?
here you go – cast details