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Pirivom Sandhipom

In a story backed by authenticity and natural underplay of emotions, you can’t expect racy action or filmi logic. So ‘Pirivom …’ is not for those who feed on the plethora of commercial spread available.

Soft as Vidyasagar’s lilting refrains in the titles the film is a welcome change for viewers who eschew the formula format.

Agreed, ‘Pirivom …’ is slow, but in portrayal of day-to-day life on the remote hills near Coimbatore, what racy action can you expect?

The story is set in Chettinad. Sala, as Visalakshi (Sneha) is called, is a gregarious college goer, who has her friends come over to her home often. Being an only child she loves to be amidst people always. So when her parents choose Natesan (Cheran) who lives in a huge joint family, as the groom, her joy knows no bounds.

But her husband longs for some peace and quiet with his wife, and grabs the transfer order that makes him shift base to Anaikatti, a hill side, with his wife. For Sala, the loneliness is killing, and she could have turned into a mental wreck but for the doctor (Jayaram) who intervenes to help the couple.

It is by far Cheran’s best portrayal till date, probably because the role doesn’t call for major emotional display. He and Sneha make a plausible husband-wife team.

And as a young woman who bottles up her feelings, the heroine does a remarkable job. No showdowns, no outbursts — her eyes convey them all.

Pazhaniappan features Sneha in roles that call for subtle yet powerful expressions. He did it for her in ‘Parthiban Kanavu’ and he does it again in ‘Pirivom Sandhipom.’

Jayaram is again an apt choice. His expressions are admirable. The tinge of sadness when he recalls his childhood as an orphan speaks volumes of his capabilities as an actor.

The potential of M.S. Bhaskar comes to the fore once again in ‘Pirivom …’ It’s appreciable that Pazhaniappan has zeroed in on him for the bachelor-uncle’s role, and Bhaskar acquits himself creditably.

Other performances that stand apart are those of S.N.Lakshmi, Devadarshini, ‘Bava’ Lakshmanan, Ilavarasu and ‘Kanja’ Karuppu. Particularly S.N.Lakshmi — the veteran who is at home in any role.

It’s a field day for Rajeevan. He paints lustrous shades to showcase the splendour of the Chettinad home in all its authenticity.

And it’s another ace from cinematographer M.S. Prabhu. Be it the greenery of the hills or the indoor beauty of the homes, Prabhu’s camera excels. Vidyasagar’s ‘Kandaen …’ number will be on your lips for long.

The Chettinad flavour in Pazhaniappan’s dialogue is bound to enhance the impact on viewers who are awed by true-to-life depictions.

Sheer guts has goaded Pazhaniappan to make a film sans fights, peppy songs, punch lines, item numbers, melodrama and artificial heroism. The courage deserves to be lauded.

All the same, Pazhaniappan could have tightened the screenplay further. Seeing Sneha sitting forlorn and bored all the time gets contagious. You begin to feel the ennui too.

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