Film Review: Kunguma Pottu Gounder

NO DOUBT, the story has a message. But does it have the strength and universality on which an entire film can rest? This is where Ganga Gowri Productions' ``Kunguma Pottu Gounder'' obviously flounders.

Kandasamy (Satyaraj) is an illiterate working in a textile shop. But he wants his son to study in a reputed school. His obsession for education is told in a flashback, where his father Kunguma Pottu Gownder (Satyaraj again) loses all his wealth because he is not familiar with the three essential `R's. The father dies of shock but not before telling his son Kandasamy in no uncertain terms that illiteracy should end with their generation.

Now Kandasamy whose wife Alamelu (Rambha) is also uneducated, faces a tricky situation. Schools these days insist that wards of educated parents alone can be admitted into their institutions. Kandasamy finds a literate woman, Saraswati (Kousalya), to act as his child's mother. There begins the chaos that leads to a whole lot of events, some interesting and others unwarranted. For example, the accident and the aftermath seem unnecessary appendages that affect the tempo.

The way Kandasamy goes about as if there is only one good school in the whole city, is quite funny. If the idea is to lash out at such city- based institutions, it may not find many takers outside the city.

It is a pleasant surprise to see Rambha as the mother of a five- year old. But the Rambha one is familiar with does appear in a song sequence.

Satyaraj does well as the responsible father and loving husband. He and Goundamani make a humorous duo and the comeback that has happened after a long gap, is enjoyable. In Goundamani's case, however, the spark seems to be missing. Kousalya's eyes convey the emotions to the right extent and prove that she is an artiste with potential. Pandu as the faithful servant of Kunguma Pottu Gounder shows that behind the superficial act of stretching the facial muscles in film after film in the name of comedy, lies a talented actor.

Radhika Choudhry is an avoidable hindrance, while Karan is effective as the irate lover of Kousalya.

The story and dialogue belong to Maheshwar. If only he had concentrated on the story as much as he had on the dialogue, the result would have been even better. The comic exchanges of Satyaraj and Goundamani are striking plus points of ``Kunguma Pottu Gounder''.

G. Saisuresh's screenplay does have defects, but the direction has creditable aspects too.

The little is intriguing, referring to a man who comes in a couple of scenes and vanishes, when the story revolves around Kandasamy and his family. The father refusing to send his son to school is absolutely ridiculous. Kandasamy was just a young boy when his father died and if he felt so strongly about education could have equipped himself at any stage, what with the adult literacy programmes so ardently advocated. Perhaps he could have found a girl who was a little educated? So none can sympathise either with his craving for education or appreciate his thrilled expression when he learns to sign his name.

Thus if despite fairly good acting and appealing dialogue the film does not make an impact, it is the pitfalls in the story and screenplay that are to be blamed.

MALATHI RANGARAJAN

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