‘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.'

‘Naachiyar’: A tough police officer gets justice for a young man implicated in the rape of a minor

By Mythily Ramachandran

Tamil director Bala’s new film, ‘Naachiyaar’ is a clear departure from his earlier films that were synonymous with tragedy. It’s a solid film that bolsters its innately compelling narrative with stand -out performances by the three lead actors- Jyotika in the titular role of a no nonsense police officer Naachiyar; G.V. Prakash a poor fruit vendor Kaathu, who is framed in the rape of minor and newcomer Ivana as Arasi, a domestic maid in love with Kaathu. And, this love story told against a police investigation leaves you smiling- a first with a Bala film.   

‘Naachiyar’ though pegged around lovers Kaathu and Arasi, also dwells on the career of an upright and tough police officer, Naachiyar, who does not rest until justice is done to Arasi.

The love story of Arasi and Kaathu is set rolling with a  ten rupee note that Arasi owes Kaathu during an auto ride. Their subsequent meetings are told humorously as Bala builds the relationship between the two teenagers. One thing leads to another and Arasi is pregnant.

Nachiyaar is a much dreaded police officer known for her tough handling of culprits. But inside this mother of two girls, there lurks a compassionate woman who begins to care for Arasi. Unrelenting in her search for the man responsible for Arasi’s condition, Jyotika strides tall as Nachiyar. Holding back no punches, it’s a power packed performance that Jyotika delivers.    

Music composer turned actor G.V. Prakash who started his acting career as the jilted lover in ‘Darling’ is barely recognisable. Under director Bala, Prakash putty like transforms completely into the simpleton that Kaathu is. With this role that is far away from his earlier lover boy characters, Prakash raises the bar for himself with a breakout performance. He completely owns Kaathu.

New comer Ivana plays the perfect tango to Prakash. Pregnant with a child, her Arasi comes with a playful  streak and a maturity in which Kaathu finds compassion. Good humour accompanies the scenes between Kaathu and Arasi and generates a nice onscreen chemistry-the tenderness in their love is tangible almost. 

Interwoven into this investigation are few nice moments, like the Muslim wedding scenes. The supporting cast deserves mention-producer cum actor Rockline Venkatesh plays Naachiyaar’s colleague; the young actors playing the juvenile criminals who bully Kaathu at the remand home show talent and the actor playing Kaathu is not easily forgotten.

This Bala film clearly wins with a magnanimous lesson on true love.