Belgium film ‘Un Monde' (Playground) imparts a valuable lesson in today’s world

 Told through the eyes of a little girl, this debut film of Laura Wandal missed an Oscar win -yet a story  that packs a punch in the fist of a child

Child actors Maya Vanderberque and Günter Duret in the lead roles of Nora and Abel-two siblings

Belgium film, ‘Un Monde' ( Playground) directed by Laura Wandal opens with Nora (Maya Vanderberque), and Abel (Günter Duret) being dropped at school by their father (Karim Leklou).

Karim Leklou as Nora's father in a scene with Maya Vanderberque

Taking viewers back to their school days, this story is narrated through the eyes of seven year-old Nora. Nora is not happy among strangers and wishes to tag along with her elder brother, Abel. But he pushes her away preferring his friends.  

This is Wandel’s debut feature after two shorts, ‘O Negatif’ and ‘Les Corps Etrangers’(selected in competition at Cannes). ‘Un Monde' (Playground)’ premiered at Cannes 2021 in the ‘Un Certain Regard’ and was shortlisted in the early nominations for the Academy award. Wandal points out here how a school is a child’s first introduction into society and in this microcosm of society it is every individual’s wish to be accepted.

Maya Vanderberque in a scene from Un Monde

For Nora, school is the first space where she is confronted with  social issues- of integration and finding her place in the community. What happens in a schoolyard reflects what happens at many other levels of society and the world.

Abel is bullied by other boys in school, but he hides it from his father. He also forbids Nora from complaining about it to his father and teachers out of a fear of social ostracism.

                                                   Günter Duret in a scene from Un Monde 

Nora gradually settles down and makes friends. And, the quiet girl whom we were introduced to in the beginning soon asserts herself. Watching her brother beaten by a bully she complains to a teacher and informs her father too. In another scene, she grabs an invitation from a classmate who doesn’t want to invite Nora to her birthday party on account of Abel’s behaviour.

It doesn't take long for Abel to become a part of the bullying group, leaving Nora much confused. She drifts away from Abel- the brother whom she adored earlier. She now avoids his company in school.

Wandal has the camera closely shadowing Nora, lingering at her level and capturing every line of emotion on her face. DOP Frederic Noirhomme was harnessed with a camera at Nora’s height. Keeping children in the focus, Wandal pushes adult characters into the background. The camera never looks down at the characters nor upwards making it an unusual narrative in the telling. The conversation children make in this film is interesting. One scene where Nora’s friend wonders if Nora’s father is a free loader since he seems to have the time to pick and drop his children to school everyday. 

Child actors child actors Maya Vanderberque and Günter Duret are remarkable and win the hearts of the audience. About a hundred children were auditioned before casting Maya in the lead role. 

“Nora was seven years old,”recalled Wandal in a media interview last year.
She remembers her first meeting with Maya when the little girl told her, ‘I want to give all my strength to this film.’
"That touched me enormously, "said Wandal. "Maya is blonde with long hair. But she was so committed that she cut her hair without any problem. At the casting, I simply asked the children to draw their playground and tell me what games they played. That alone was enough to observe their gestures, their speech, what the camera captured of them and I could see that something huge was coming out of Maya. I taught her to swim, which created a strong bond between us. Then I worked with two exceptional coaches, one of whom was a speech therapist, Perrine Bigot. We shot in July but we started working with the children in April: for three months, every weekend, we worked with the children. They never read the script. We created several working groups to build the brother/sister bond, the relationship between the friends, the dynamics within the group of friends, but we also created a group with all the children together. Through games, we got them used to the camera; then we worked on their emotions so that they could express them without being consumed by them, still through games. We explained the beginning of a situation and improvised around it. Finally, we had them draw the scene on a cardboard, like a child’s storyboard. When it came time to shoot, we brought out the cards and they knew exactly what the scene was about. It was a lot of work beforehand, but I loved this part of the film-making process. Maya is excellent, I don’t know where she got all that, but the result is there.”

About Günter Duret, she said, “He is an extraordinary boy- very brave- a little wild in the sense of instinctive. This impulsiveness brought out something very strong in his acting, and that’s what the film needed. The role was a bit scary for him, but he did really well.”
"We did at least twenty takes per sequence shot, because there were little accidents, camera glances, we had to redo. I would like to underline the courage of all these children. It is exhausting to do the same thing twenty or thirty times."

Viewers are not told anything about Nora’s and Abel’s mother.  
Wandal stated in an interview that she wanted to stay in the world of the children and school and to show the outside world as little as possible.
“Maybe the mother is at home or maybe not. We don’t know and I didn’t want to explain it. Because for children, there is the world of school, and almost nothing else exists. Generally, outside the family, this is the only world that the child knows, this is his or her representation of the world,” said Wandal. “On the other hand, not saying anything about the absence of the mother is to leave the viewer free. It’s very important for me that the spectator makes the film his or her own, and in order for him or her to project things from him or her, you have to give them room. You can’t give the audience everything on a silver platter, ” added Wandal, who has been inspired by filmmakers including the Dardenne brothers, Abbas Kiarostami, Bruno Dumont, Michael Haneke and Chantal Akerman, Wandal said, “What I find common in all these filmmakers is that they show the human in its worst, but they do it with such love and kindness that they always manage to bring back the human in its most just and beautiful. This is what I tried to do with Playground.”

Wandal’s film does not judge anyone-neither the parents and teachers.

“My aim was not to condemn anyone,” said Wandal. “There’s a meeting with the headmaster but it’s not solved all at once. The school supervisor is overwhelmed because she doesn’t have time, there are too many children and too many conflicts to solve. I think that kindness innate, and then it is lost, but I think it can be re-learned. At the end of the film, Nora has been through a series of things, but thanks to the listening and kindness that her teacher has given her, she manages to stop the violence with a gesture of kindness. This film is about helping each other. We live in a fast-paced society where there is no time to deal with the root causes of problems. In this schoolyard, there is harassment, but also ignorance, a lack of attention and listening. I have the impression that violence does not come from nowhere. It usually comes from a wound, from something that is not recognised and listened to, and unfortunately it is transmitted very quickly.

‘Playground’ shows the strength and resilience of children. It’s a very poignant scene as curtains fall down and Nora imparts a beautiful lesson to us- adults-that only love can heal everything. And it needed a little girl to tell us that which is relevant in today’s world.
 ‘Playground’ sadly did not make it to the Academy award.

Malayalam film ‘#Home’ celebrates family bonds

 Malayalam film ‘#Home’ celebrates family bonds 

 

By Mythily Ramachandran 

 

 There is no place like home-those four walls within which one can be yourself –warts and all-and among people who love you for being you.

 Malayalam director Rojin Thomas’s new film, ‘#Home’ is all about this special space. And, he builds a heart-warming family drama story laid on the bricks of love and honesty. 

Indrans as Oliver Twist  

Oliver Twist (Indrans) is an unusual name for a protagonist of a Malayalam film. Oliver’s father (Kainakary Thankaraj ) worked as a typist in the fifties and used to type English stories into Malayalam. The classic ‘Oliver Twist,’ was his favourite. He chose that name for his firstborn. Subsequently, Oliver’s brother was named Peter Pan, and his sister, Mary Poppins. The English language’s hangover continues today with the old man, who speaks only in English in this Malayalam ‘home.’ 

Sreennath Bhasi is Antony, a film director

 

Oliver’s eldest son, Antony (Sreenath Bhasi), made an impressive debut as a film director but with his second script, he is struggling with writer’s block. At the suggestion of his producer Baby (Maniyanpilla Raju) Antony goes to the very place where he wrote his first script-his home. And, like every home, his home encapsulates drama and chaos.  

L-R-Sreenath Bhasi, Nalson Ghafoor, Indrans and Manju Pillai

 

Three generations live under the same roof-a grandfather who cannot hold his bladder; Oliver, the technology illiterate simpleton learning to use his new smartphone; his wife Kuttiyamma, (Manju Pillai) a pragmatic woman, who minces no words with her sons; their eldest son Antony in love with Priya (Deepa Thomas)- the only daughter of Joseph (Srikanth Murali) an illustrious man and Charles (Nalsan K Ghafoor ) Anthony’s younger brother -an Instagram addict.

 

 Thomas shows his grip as a storyteller. The screenplay flows seamlessly. Without making it a melodramatic tale spouting a social message, Thomas captures relationships with a sincerity that makes ‘Home’ real and relatable. There are moments in ‘Home’ that might seem to have been lifted from your and my home. 

 

The generation gap is there to see. Oliver’s sons are loving guys but it’s their cocky attitude so typical of the new age that causes hurt and pain to their parents. Oliver who loves his sons to a fault takes the brunt of it. ‘Home’ appeals with its emotional moments that are universal –the shaky relationship between parents and children once they turn adults- the young generation’s dismissal of their parents’ ideas and taking them for granted-will ring true for many in the audience.

 

Holding up ‘Home’ is a brilliant team of actors. The casting is pitch-perfect. Thomas elicits fabulous performances not just from his main actors but from every member on board. Indrans proves that the comedian in him can shoulder more significant roles. His Oliver-a diminutive and unassuming man- wins hearts all the way. With little touches and nuances in his expressions, the Kerala state awardee brings out the pain and disappointment that Oliver tries to conceal while interacting with Antony.

Sreenath Bhasi plays the young director to the hilt. Antony’s unkempt hair and beard certainly remind us of our sons. The supporting characters are vividly drawn. Manju Pillai’s chemistry with Indrans is amusing. They play the perfect tango. While Oliver is forgiving of his sons’ behaviors it is Kuttiyama who always puts her sons in place. Humour is neat-situational largely. Ghafoor brings in the laughs. His Charles is an inveterate talker who is busy posting videos on social media.

 

Actor-Producer Vijay Babu plays a psychologist

Another interesting role is taken on by Malayalam director Johny Antony. He is Oliver’s childhood friend, Suryan. Their camaraderie is fun. Vijay Babu who has produced the film under his banner, ‘Friday Film House’ essays a psychologist. It took a while to recognize Srikanth Murali as the bald Joseph. Murali who has explored different roles earlier leaves his mark again. His Joseph is not one forgotten. 

 

 A poignant scene stayed with me. The family returns home from Joseph’s birthday party. Oliver sits down beside Antony and tells him, “Son you were right. Lightning cannot strike through a mobile. I checked it on the internet.” What follows is beautiful- the show of affection between the father and son-spoken in silence.

 

Cinematographer Neil D Cunha’s frames follow the characters closely, sometimes getting intimate with their feelings. Cunha’s shots are spectacular-Oliver’s house built on different levels is a beauty in its simplicity.  

 

‘Home’ reinforces the universal truth that human goodness always prevails. And, there might be something extraordinary in the life of an ordinary man. Told from the heart ‘Home’ is a must-watch for all age groups. Clearly, everyone will agree with Antony-‘I am always imperfect at my home.’

 

 Catch it on Prime Amazon.

‘Koozhangal’ a Rotterdam Tiger award winner-leaves you stunned with its simple story and a performance that is so real

By Mythily Ramachandran

There is one scene in Tamil film, ‘Koozhangal’ (pebbles) that best defines the women of Arittapatti-where the story is set.
An old woman is sitting near a shallow pit where water trickles slowly from the ground below. Using a mug to scoop up the water little by little, she fills a plastic pot kept nearby. Watching her in the process is a group of women who are waiting their turn to fill their pots in the same manner. Undoubtedly it’s going to be a long wait but patience seems to be the second name for these women. There is no resentment nor impatient signs on their faces. They have resigned to their fate in Arittapatti-a drought-affected region in Tamil Nadu-where water is a luxury. Debutant director P S Vinothraj takes viewers on a journey offering us a glimpse into Arittapatti and the lives of people there.

When Shanthi leaves her alcoholic husband for her parents’ village, her husband Ganapathy is enraged and he sets out to bring her back. But he is not going alone. He barges into his son’s school and pulls out their son, Velu  (Chella Pandi) and the two take a bus. Reaching Shanthi’s village, Ganapathy tells Velu- “Tell your mother to come now, or else I will marry someone else.”

 Velu takes time at his grandmother’s home and an infuriated Ganapathy enters their house, abusing them leading to a scuffle between him and Shanti’s brother. Ganapathy is beaten up, his shirt is torn and he learns that Shanthi has already left for their home. As the father and son wait to take the bus back home, Ganapathy threatens to kill Shanthi when he tells Velu, “From now on you have no mother, only a father.”

The bus journey back home does not go as planned. And, the father-son duo are forced to walk barefooted in the scorching heat across the arid terrain.

Vinothraj’s story captures a day’s event in their lives. His narration is simple and rides on the shoulders of two newcomers-Karuthadaaiyan and Chella Pandi, who play their roles of Ganapathy and Velu with aplomb. Karuthadaaiyan with his boorish demeanor and hurried gait that is marked with a purpose is completely Ganapathy- an angry man with a sense of entitlement. Velu barely speaks. His anxiety and confusion are reflected in his eyes. Chella Pandi is brilliant.

Debutant cinematographers Vignesh Kumulai and Parthib with their unique frames make the trek an engaging one. It’s a beautiful opening scene that sets rolling this journey. An arched branch with a bird’s nest hanging at its end sways in the breeze. And as a bus approaches its stop, we get a peek inside. The camera hovers over a sleeping man and then lingers over a sleeping child cradled in her mother’s lap. Be it the long shots across the brown landscape following a woman who alights from the bus and settles down under a tree to feed her baby, or the camera staring at Ganapathy’s back as he marches,  the visuals lend a fly on the wall experience. Attention to tiny details lights up every frame.

It’s a heart breaking moment when Velu is thrashed by his father for getting a ride on his teacher’s two-wheeler. Velu is confounded and hurt, yet this little boy never cries. As we sympathize with Velu, a pup runs up to him.Velu forgets the beating and plays with the pup. There are other moments that bring out the child in Velu. Blowing up a balloon, he sways it through the window of the bus. He even manages to take some kind of revenge on his father with a small piece of mirror that he picks on the path. It’s good humour there. Velu loves his mother and sister. My favourite scene is the one where Velu and his sister play with the puppy. We never get to meet Shanthi though.

‘Koozhangal’ highlights the poverty in this drought-affected region where a family smokes rat holes to hunt them for food. When curtains fall, Velu removes the koozhangal (pebble) he had been carrying in his mouth to ward off thirst on the journey and adds it to his collection of pebbles.
Does it mean that this road journey was one of many before?  Like the women of Arittapatti Velu has learnt to take life in his stride.
Don’t miss this masterpiece.

  

Sufiyum Sujatayum’: A story told from the heart

Marked with terrific performances and visuals, this love story remains true to its genre

Since time immemorial, parental pressure and religion has kept lovers from uniting. Debutant director Naranipuzha Shanavas’s ‘Sufiyum Sujatayum’ follows the life of Sujata (Aditi Rao Hydari)-a speech impaired young woman and her love for a Sufi (Dev Mohan).

The film opens with Sujata (Aditi Rao Hydari) and her family-husband Rajeev (Jayasurya) and daughter- living in the middle-east. The following morning Rajeev receives a message. His wife’s former lover is dead and the burial is planned that evening. Rajeev does something not many men will do. He flies to India with Sujata so that she can pay her last respects to her Sufi. Rajeev hopes that it will bring a closure to a past that has been intruding into his present.

Shifting between the past and the present Shanavas stays true to the genre while resisting temptations to making it a melodrama. Neither is he keen on biting the bait of a communal line lying underneath.  

‘Sufiyum Sujatyum’ opens with promise, falters midway but finds its feet ultimately to usher in a dawn filled with love. While the narrative is told from Sujata’s perspective, the Sufi remains an enigma. What inner turmoil does he go through when in love? ‘Sufiyum Sujatayum’ could have reached its full potential if more focus had been given to the Sufi.

You can’t help remembering another Malayalam story- ‘Ennum Ninte Moideen’- where religion came in the way of love. ‘Ennum Ninte Moideen’ found its rightful place solely due to its brilliant writing and pathos filled scenes executed perfectly by Prithviraj and Parvathy.

Yet, Shanavas’s maiden film deserves praise on several counts. There are aspects in his screenplay and staging that indicate he is a talent to look out for. The town where the story is placed is in harmony with Hindus and Muslims living together. Sujata often visits Aboob-Sufi’s mentor- and her father (Siddique) is fine with it until she falls in love. 

Small details make many scenes real. The burial scene is shot in a methodical manner. When Rajeevan tosses a handful of soil in the grave, he is burying a past. For a moment he almost slips into the grave but is pulled back by someone. A simple touch added there. 

Siddique’s emotional outburst in a scene left me with goose bumps. The veteran was spot on as Sujata’s father.  Kalaranjini complements Siddique well. You can’t help smiling at this naïve woman. In one scene she brings a cap that she stitched for her grand-daughter and gives it to Rajeev. When he remarks that it was a bigger size, she has an answer-‘a safety pin will correct that.’

Shanavas sprinkles humour during tense moments-the cab driver when  intercepted by the police for speaking on his mobile, blabbers about his wife being suddenly pregnant instead of ‘pregnant wife had to be suddenly rushed to hospital.’ The driver made me smile in another scene where Rajeev calls him up to check for his lost passport. The driver says that the passport was not in his car, but before calling off, he shares news of his wife’s delivery.  Who comes up with situations that mirror life?

Aditi Rao Hydari brings in the vulnerability of a woman hindered by speech yet fearless in love. Looking beautiful with barely there make up, Hydari lights up every frame. Remarkable is the scene where she breaks down following a close family member’s death.   
Dev Mohan is earnest in his role and impresses on debut. As the Sufi, he carries a warm glow. Manikandan Pattambi whose character turns the course of the story is a spontaneous performer. The graveyard scenes involving a search for something lost keeps the adrenalin going with a dread-‘What if? 

When curtains fall, it is Rajeev who lingers long. Jayasurya’s subtle body language conveys well Rajeev’s relationship with Sujata. Though frustrated with his wife’s past and bristling with anger inside, Rajeev’s love for Sujata surpasses everything. Jayasurya is fantastic. 

M.Jayachandran’s music is soulful melody. The song, ‘Alhamdulillah’ is divine while the lyrics of Hindi song ‘Kya Karoon’ beautiful. DOP Anu Moothedath’s frames are spectacular from the word go-every frame   created with care- and some are surreal.

‘Sufiyum Sujatayum’ is not about love only but in understanding the one you love.

‘Kappela’ excels as a small-town tale with a big heart

Appearances can be deceptive.
Actor turned director Muhammed Musthafa debut film, ‘Kappela’ cautions viewers on this point with a simple story set in Poovarmala in Waynad. 

Jessy (Anna Ben) lives in Poovarmala in the Waynaad ranges with her orthodox parents and younger sister. Theirs is a simple life-father is a farmer, mother undertakes tailoring orders and Jessy assists her mother in stitching.  

An accidental call to a wrong number changes Jessy’s life. Vishnu (Roshan Mathew) an auto driver from Mallapuram takes the wrong call and pursues Jessy over phone.  It doesn’t take long for Jessy to fall in love with Vishnu and his voice over conversations they share. 

Benny (Sudhi Koppa), a young man from the neighbourhood is in love with Jessy. He approaches her parents for her hand in marriage. As their wedding is fixed, Jessy decides to meet Vishnu. She leaves for Kozhikode alone one early morning. Vishnu agrees to meet her at the bus stop. Jessy and Vishnu have not been able to share their pictures since Jessy uses an old phone. She cannot afford a smart phone. They are acquainted with each other by their voices only.  

Do the lovers meet as planned?

‘Kappela’s writing and screenplay with well sketched characters is its biggest strength. The narration is simple, the mood and tone rooted in reality, conversations real as the story glides smoothly like a well oiled machine lending a fly on the wall experience and you soon invest in Jesssy’s life.  

The casting is pitch perfect as the lead actors Anna Ben, Roshan Mathew and Sreenath Bhasi are fantastic with their portrayal.  Unsophisticated, simple and living on the high ranges of Waynaad, Jessy’s big dream is to see the sea. What’s beautiful about Malayalam cinema is the natural look the actresses sport. Anna Ben is growing as an actor with each film. This is her third film. Her Jessie easily finds  way into our hearts. Ben neat play of emotions of the small town young woman-vulnerability and gullible-is commendable.  

Vishnu wearing a red pottu  on his forehead always is the perfect picture of that friendly  guy in the neighbourhood whom people seek in times of distress.  That was quite a challenge to depict and Mathew is brilliant, never going overboard with his expressions. 

A stark contrast to Vishnu is Roy (Sreenath Bhasi).  This unemployed BBA graduate is job hunting and has no qualms about removing his lover Annie’s ring so that he can pawn it for his requirements. With his cocky mannerisms and tough attitude, Roy is not someone you will warm up to soon. He enters the lives of Jessy and Vishnu at Kozhikode. Bhasi has been experimenting with varied roles and proves his versatility again. Sudhi Koppi plays Benny the nice guy whom you wouldn't wish to hurt. 

Actor turned director Musthafa

Director Mushthafa has acted in several films in supporting roles. He received special mention by the national jury for playing the lead in 'Ain. Musthafa plays a small role in Kappela. 

Little details make the scenes real and relatable-an old woman asks the bus conductor to let her know when her stop arrives while the passenger in the seat behind Jessie tells her lower down the shutter in the rains. That Jessie’s parents are orthodox comes through the scenes and not through loud dialogues.

Without resorting to loud melodrama and screaming out a social message, the danger is there for all to see. It’s most poignant when a disillusioned Jessy asks Roy- like a child-, ‘Will you show me the beach?’ 
 

Cinematographer Jhimsi Khalid’s visuals are spectacular. The opening scene is beautiful, as two friends under an umbrella braving the rains reach a bus-stop. Poovaram the small town on the mountains is caught at its rustic best. And, the kappela (chapel) which Jessy frequents is just a basic shrine of Mother Mary perched on a mountain and devoid of decorations yet seems to hold an enigmatic power over the little town below. That closing shot was beautiful. 

‘Penguin’ disappoints despite Keerthy Suresh’s splendid performance

By Mythily Ramachandran

The opening scene sets the mood for a thriller about a missing child and the scenes that follow are promising, but midway ‘Penguin’ gets grounded with an unconvincing plot and several loose ends hanging.

Championing the cause of child sexual abuse seems to have become a trend in Tamil cinema today. There is nothing wrong about it, if only film-makers had an engaging story that educates children on potential abusers and self-protection while guiding parents on being open and accessible to their little ones.

Keerthy Suresh leads this emotional thriller

Written and directed by debutant Eashvar Karthic, ‘Penguin’ becomes more a film about glorifying gore and personality disorder while taking refuge in lauding motherhood.

Rhythm- (Keerthy Suresh) -a mother who cannot get over the loss of her son Ajay-is pregnant with her second child thus making her vulnerable enough to hook onto viewers emotions.  And, she does not hesitate to put herself in the most dangerous situations.

Suresh makes her Rhythm endearing. Some of her scenes are unforgettable-the one in a hospital where she plays with a little girl is beautifully captured. Intense is her performance in the scene where Rhythm reunites with her son. Despite the hard work Suresh puts in and reiterating the wonderful performer she is, ‘Penguin’ disappoints.

With the exception of Linga-who plays Raghu, Rhythm’s former husband- the rest of the supporting actors carry a wooden expression. 

Linga plays Raghu, Rhythm's former husband

The writing suffers. There are several loose ends. Rhythm’s relationship with husband Gautham is little explored. 

What about Ajay’s trauma? For one who has been away from home and family for six years, it is touched perfunctorily. 

Fighting one antagonist is not enough for this mother. Neither is there a back-story for him and his actions, but  he is portrayed as a maniac with scenes painted in gore and innards. 

And, then comes a second antagonist making ‘Penguin’ an exhaustive exercise.

Karthik Palani’s visuals of Kodaikanal are beautiful-verdant vegetation, misty mornings, rushing rapids, floating clouds and eerie silence of the nights. But beyond the frills ‘Penguin’ fails to take off.    

‘Pon Magal Vandhal’ a story with an important message

While parents teach their daughters how she should behave, dress and whom to befriend, they ought to also teach their sons how to treat women and to respect them,’ says lawyer Venba in this courtroom drama

By Mythily Ramachandran

A tranquil misty morning’s beauty is shattered by gun shots and a child’s cries, ‘Amma Amma.’ News reported on television talks about the arrest of Jyoti-a psycho killer who has been abducting little girls in Lovedale, Ooty. The next breaking news is about Jyoti’s death in a police encounter and recovery of dead bodies of children in the yard around her house. According to media reports Jyoti was a wanted criminal from Jaipur. This case of 2004 thus solved is closed.

Jyotika plays a lawyer Venba

Cut to the present- fifteen years later. We meet Pethuraj (actor director K. Bhagyaraj) better known as Petition Pethuraj for his many petitions against small crimes filed in court. He lives with his daughter Venba (Jyotika).

When Pethuraj files a petition reopening the case of Jyoti who he believes has been wrongly implicated by the police, it is Venba who takes up the suit-her first case as a lawyer. But then, she earns the wrath of the local community for pleading the case of an inhuman killer.

Why does Venba take on this case? Who is Jyoti?   

The team-Pandiarajan, K. Bhagyaraj, Pratap Pothen, director J J Fredrick, Jyotika and Parthiban

Debutant director J.J.Fredrick’s ‘Pon Magal Vandhal’ is a court-room drama that spills skeletons out of the closet while unearthing the truth about Jyoti. Child sexual abuse being the plot point here, the film closes with Venba saying-‘While parents teach their daughters how she should behave, dress and whom to befriend, they ought to also teach their sons how to treat women and to respect them.’ According to National Crime records India ranks seven and Tamil Nadu occupies the third place with respect to child sexual abuse.

The producers actors Surya and Jyotika deserves a pat for taking on this subject along with the director who instead of a formula story around a star preferred the less beaten track. Fredrick makes a good start. Of late portraying north Indians as criminals has become the norm in Tamil and Malayalam cinema. I liked that point made here and rebuking us for making presumptions about north Indians. But, the story required better writing.

‘Pon Magal Vandhal’ is more of an investigative thriller and less of a court room drama. There are some unwarranted scenes supposed to evoke laughter and characters having little to contribute. Jyotika playing a dual role is not a good idea either.

Jyotika who has been selective about roles in her second innings is earnest and sincere in championing the cause. She has dubbed for herself in Tamil-which is not her mother-tongue. She is in fine form as Venba. 

Director Fredrick with actor Thiagarajan on the sets 

Parthiban plays lawyer Rajarathinam countering Venba in court. He is in his usual element delivering lines with a play on words.

What makes ‘Pon Magal Vandhal’ worth a watch is its important message and Jyotika’s performance. Cinematographer Ramji’s visuals are a treat.
And, yes like Venba says-‘Let’s teach our sons a couple of things too.'