Genre: Historical Director: Gnana Rajasekaran Cast: Satyaraj, Kushboo, Jyotirmayi Storyline: Of a leader who rises in wrath against the ills in society Bottomline: Greatness showcased!
Mirroring an era steeped in social maladies Liberty Creations Ltd.’s ‘Periyar’ (U) effectively traces the life of a great leader who relentlessly championed the cause of the thwarted lot. In a linear mode throughout, the film skirts around sensitive issues, touches upon a few points with utmost subtlety and in the process highlights the astuteness of writer-director Gnana. Rajasekaran. It’s a role of a lifetime for Satyaraj, who comes out with a nea
r-perfect execution. He brings the poise, posture, gait and body language of the aged Ramasamy alive on screen.
As the young Ramasamy whose mind resists religious dogmas Satyaraj’s essay is comparatively mediocre, and at times somewhat immature. The film gains momentum only when a physically bruised and mentally hurt Ramasamy leaves home. Rajasekaran could have made these segments shorter and given us more of the older Periyar. Jyotirmayi as his first wife Nagammai brings in romantic relief, which again has been very naturally handled. No cinematic touches even here. Probably that’s one reason for the inescapable docu-feel that pervades ‘Periyar.’
Another very carefully handled segment is Maniammai’s entry into Periyar’s life and its repercussions. Kushboo is an excellent choice — dignified and calm this Maniammai’s underplay will be remembered for long. Manorama is Ramasamy’s mother Chinna Thayamma, a woman steeped in superstition. The veteran is apt except that at times she overdoes things a bit.
Noteworthy aspect
Casting as a whole is a noteworthy aspect of ‘Periyar.’ Be it Annadurai, Karunanidhi, Rajaji, MGR or M. R. Radha, actors have been chosen with care that it helps us identify the personalities at once. In this ocean of naturalness ‘Gandhiji’s flawless Tamil stands out for its strangeness. Vijay Adhiraj makes a young and vibrant K. Veeramani. But innumerable characters come and go that you don’t understand the importance of their presence, and no effort is made to make us wise on that score. (‘Vennira Adai’ Nirmala’s part is an example).
Scenes end abruptly and no dialogue or references aid you in comprehending the various phases in the leader’s life, except through the changes in Satyaraj’s looks. Cinematographer Thankar Bachan’s sepia tones capture the old world charm in picturesque fashion. And with background score that suits the times Vidyasagar’s contribution is laudable. The Ramayana reference to the squirrel and its stripes doesn’t stir you because you’ve already heard Kamal saying the same in ‘Kadhala Kadhala.’ Otherwise Gnana Rajasekaran’s dialogue is poignant for the most part.
Even if it is his own family, Ramasamy is unable to accept the unfair treatment meted out to the socially trampled strata. From gender equality and widow marriage to striving for a casteless society there seems to have been no cause he didn’t work for. And the crowning glory is that, throughout his life he sought nothing for himself. It was the rigid mindset of the members of the so-called upper castes that he rose up against. And to make the point clear Rajasekaran cleverly weaves in the bonding that Rajaji and Periyar shared.
The scene where Maniammai (Kushboo) teases her husband about their friendship is enjoyable. The life of a bold, selfless mass leader has been recorded for posterity, and recorded reasonably well.
MALATHI RANGARAJAN
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