The parameters for choosing a film to watch differ. Even if you’re the kind who watches all and sundry there’s an inherent order. For a lover of cinema, the director’s track record makes it easy, rendering the cast inconsequential. It’s rare for a female star, however big to get a role of substance leave alone prominence. Also no superstar worth his caravan will agree to perform when the heroine is the protagonist. Kamal agreed to do ‘Moondram Pirrai’ because he knew audiences would emerge sympathising for his character. He walked away with the National award. Sridevi’s presence made it easy when she was ruling. She had the rare confidence and conviction to elevate the cheesiest of caricatures to a plausible character. She could pull off a complicated character in ‘Moodru Mudichu’ when she was barely 16. The other actress as brilliant early in her career was Priyamani in ‘Paruthi Veeran’. Sadly, her talent has seldom been tested since.
There are plenty of talented actresses but for them to be recognised more for their talent than their ‘come hither’ looks is rare. Kangana Ranaut plays characters that have a mind of their own. She’s the only reason to watch an otherwise average ‘Simran’. Malayalam cinema has plenty of gifted actresses. Parvathy, amongst them is outstanding. Her presence does make your choice for weekend viewing easy. Over the years you know her choice is based on the strength not the length of her role. I’m sceptical about South Indian stars foraying into Hindi because I feel Kamal’s tenure in Bombay was the worst phase in his career, creatively. Of course Tanuja Chandra choosing Parvathy for ‘Qareeb Qareeb Single’ must have been purely her performance in films like ‘Takeoff’. Irfan Khan’s presence made it more enticing. The film is a modern romance of a mature pair with a past. It’s quickly established that the heroine, a South Indian is lonely, looks longingly at a pair buying a condom, wolfs down food in self pity and is advised to have casual flings by a colleague who seems to be in a constant state of arousal. Well she reluctantly tries a dating portal and decides to meet the first person who replies decently. He happens to be a dandy who spouts poetry. She’s not swept off her feet but slowly warms up to him on a trip to meet his ex girlfriends. It’s a relief that the director doesn’t dwell on the pairs past. Parvathy is her effortless self, reactions flitting across her face with felicity.
The highest paid female star today is Nayanthara and producers don’t grumble. She’s hailed as ‘Lady Superstar’ and has stopped playing second fiddle. Making her debut in Malayalam she moved to Tamil and Telugu films. She went into a shell following upheavals in her personal life but came back with a vengeance, the horror flick ‘Maya’ putting her on a pedestal as a bankable star. She’s choosy and the producer of ‘Aramm’ couldn’t find finance till Nayan signed on the dotted line. The film, about a child trapped in an open bore-well is unwavering and touching. It happens in a day with Nayan playing an upright collector who has to deal with the apathy of politicians even as she faces the ire of the affected. Wearing a single sari throughout the film Nayan is a picture of poise.
The narrative is in the form of an enquiry against her even after the child is saved. There are absolutely no frills. You can judge a director by the way he chooses and extracts work from the briefest of characters. Gopi Nainar emerges with flying colours. Nayan, as a woman of substance is brilliant and has to be lauded for backing a film with substance rather than just style.
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