‘Papanasam,’ remains faithful to ‘Drishyam’

By Mythily Ramachandran

How often do remakes receive the same appreciation as its original film?
Seldom.
When a good film is turned into another film in a different  language, the story often gets distorted so as to,  “suit the local sensibilities,’ and in the process the essence of the core is lost.
But with ‘Papanasam,’ the Tamil remake of ‘Drishyam,’ (Malayalam),  director Jeethu Joseph scores once again.  Joseph has made little changes leaving the soul of the story intact. And that’s why ‘Papanasam,’ clicked with viewers.
Joseph’s story is about an ordinary cable television operator who has not studied beyond class four. A loving husband and doting father to his two daughters, Suyambulingam (Kamal Haasan)  does not aspire big. All he cares for is the happiness of his family.
But when an outsider enters and disturbs their peace, this father will go to any extent, solely to protect his daughter. And, when faced with the law, he believes that the family can be saved only by staying together. This father who has always taught his children to speak the truth finds himself tutoring them to speak lies, manufacturing alibis and finally tampering with evidence.
‘Drishyam’ was the story of a Christian family, ‘Papanasam,’ is the story of a Nadar family based in ‘Papanasam.’ Mohan Lal played George kutty, the father in ‘Drishyam.’ Kamal Haasan is Suyambulingam, in ‘Papanasam.’ If ‘Drishyam,’ brought back the Mohan Lal we loved and remembered for his films of the eighties, ‘Papanasam,’ brings back the Haasan we have always admired.
Comparisons with ‘Drishyam’ are inevitable, but on one aspect viewers will be unanimous: Lal and Haasan have both played to perfection the doting father in their own style.
Haasan’s terrific performance in the climax scene is the cherry of the cake in ‘Papanasam.’
Cinema is a running sub-text in ‘Papanasam,’for Suyambulingam is a hard core film watcher. And when confronted with an issue in life, Suyambulingam resorts to film shots to sort it out. Joseph has beautifully woven this aspect into the major story.
Asha Sharath and Esther Anil who have reprised their roles from the original deliver performances that is one notch higher than in ‘Drishyam.’ Sharath as the mother agonizing over her missing son is a tough cop who uses power to intimidate Suyambulingam and family. Winning hearts again is Esther, as Suyambulingam’s little daughter who succumbs to police power and spills the truth. Gauthami makes a good comeback opposite Haasan as his onscreen wife. Nivetha Thomas, reprises Ansiba Hassan’s character and is remarkable. Surprising viewers is Bollywood’s Ananth Mahadevan, he plays the role Siddique did in ‘Drishyam,’ and the veteran director-actor is perfect.
‘Papanasam,’ is a gripping tale that is unpredictable and leaves you stumped in the end.

 ‘Uttama Villain’ a tad too long but a story that touches the hearts

By Mythily Ramachandran

With death imminent, matinee idol Manoranjan, (Kamal Haasan) who has acquired fame and glory in ample measure has one last wish. He wants his mentor Margadarshi (K. Balachander) to direct him in a story that he has written.
It was Margadarshi who had discovered the actor in Manoranjan. He believes that if made this film would be a memorable one for him. Margadarshi is not keen initially but when he learns that Manoranjan’s life is threatened by brain tumour, he gives in.
So, the film, ‘Uttaman,’ gets rolling. It’s set in the 8^th century with Manoranjan playing the lead role of Uttaman. Ironically Uttaman has survived death on several counts. He is now recognized as ‘mrityunjayan,’ (the man who overcame death) by the villagers.
With a film inside the main film, Haasan’s script alternates between the sets of Uttaman and the life of Manoranjan, the actor.
You learn about Mano’s past lover Yamini and their daughter,  Manomani (Parvathy Menon). Manoranjan is now married to Varalakshmi and they have a son, Manohar. But that does not stop the actor from straying outside marriage and finding a lover in his doctor, Arpana (Andreah Jeremiah).

If Kamal Haasan makes you smile now and then with his comic and naïve behaviour as Uttaman, he also makes you blink your tears when Manoranjan wrestles emotional moments with his two children. The scene between Manoranjan and Manohar tossing the cricket ball was well conceived.

Haasan the versatile performer comes to the fore in these scenes and you can’t help remembering his old hits, ‘Raja Parvai,’ ‘Silangai Oli,’ and ‘Moondram Piravai,’ to mention a few.
At sixty, how many actors can take on a theyyam dance with that heavy headgear and emote too? Haasan is adept as Uttaman the folk artiste. Naïve and sometimes bordering on clowning, Uttaman connives  with the beautiful Jasmine (Pooja Kumar) to kill the wicked Mutharasan, (Nasser) the king of the land and one who desires Jasmine.
It’s a Kamal Haasan show all the way no doubt, but one worth watching the actor in different moods and forms. And look out for the scenes between Haasan and late K. Balachander.
‘Uttama Villain,’ does drag in places though and the frills could have been trimmed. Like the portions revolving around Jasmine and Mutharasan as well as the intimate moments between Manoranjan and Dr. Arpana.
Hats off to Nasser who delighted viewers with his antics as Mutharasan. Not many are aware that this splendid actor was going through a difficult phase in his life during the filming of ‘Uttama Villain.’ His eldest son was critically injured in hospital and the sets gave him the much needed respite from agonizing. Nasser had revealed this during the audio launch ceremony of ‘Uttama Villain.’
Comedian M. S. Bhaskar as Manoranjan’s Manager acquits  his part well. So did Urvashi as Manoranjan’s wife, she was natural and spontaneous. Among the young brigade, Parvathy Menon and Ashwin shine in their roles as Manoranjan’s son and daughter. A pleasant surprise was actor Jayaram who lent a quiet dignity to Jacob Zacharia, his character.
Haasan’s characters cannot be separated into black and white. They are normal humans with failings, be it Chokku Chettiar, who holds back a secret from Manoranjan, or Dr. Arpana, the other woman in Manoranjan’s life.
‘Uttama Villain’ is a thorough entertainer and at its core lies a poignant story.