Saturday, 11 August 2018

Pyaar Prema Kaadhal: Love (Kalyanam) Panlaamaa Venamaa

The moment their ideas about life get exchanged between the lead pair, filmmaker Elan leaves it to the audience for making a decision about their lives. His Pyaar Prema Kaadhal is all about this - how relationships have to be handled between family and ambition.

Despite getting the feel of a house next door story in the first half, PPK's conflict and resolution it sets out in the second half are what those detail relationships of this age.

The usual love tale of a boy falling for a girl, just for her looks and later they both realising love for each other's emotions are not new. But, Elan establishing his characters and building the dissension are near to reality. A mom who expects a conservative non-working girl to marry her son, a father who feels-like-achieved for making a paper-plain dosa, and a tailor who calls himself unorthodox - are a few among them.

PPK has a number of moments that any random viewer who is/was in love can relate. The instance where Sree(Harish Kalyan) gets excited and plonks his mobile after sending a long text, and receiving a simple 'K' as reply felt like Elan was sitting next to me, and copied it from my life. Harish's, even, little emotions workout well on screen here.

As the movie predominantly travels in the perception of Sree, the stand-alone moments of Sindhuja(Raiza Wilson) are outnumbered. Still, the scene where she shoots her dad dancing, and a similar follow up with it in the later part of the story establish her character spot on. The tennis court conversation between Sindhu and her father, a single parent is where Elan proves himself to be an adulthood writer with a coming-of-age nature. There is a similar monologue for Anand Babu that is rightly 45 seconds long in the pre-climax. Elan elevates his maturity further there.

Notwithstanding all these scenes with realism, there are also some cinematic-dramatic moments as well. Is there an MNC in town that organises a presentation session just for a guy to tender his apology? We also get reminded of the climax of La La Land - 'Seb's' look-alike towards the end of PPK - both romantic and cinematic.

There are a few peculiar characters like Sathish played by Deepz who is also credited for story discussion, Tailor Thangaraj Anna and Sree's Office Attender Akka. All these three characters have their own significance to reflect the mentality of the society over relationships. And, in the row of Mundhaanai Mudichu's Vaadhiyar essayed by Bhagyaraj, and M Kumaran S/O Mahalakshmi's Malabar by Asin, PPK's Ivanae joins them for donning an unnamed, yet, interesting character.

One just keeps smiling or laughing throughout the runtime of PPK. There is a scene where Sree's voice over says 'Yep, I'm a boxer' imitating VTV's Karthik. That was totally relevant and humourous. The iteration of different Ilayaraaja songs and original score especially Thaamarai Melae Neer Thulipol, is an abrupt laughter jiffy. Yuvan's presence is almost throughout the film. There are also these sudden occurrences of silence in his background score, that pushes PPK's emotions deeper. This composer is really a genre himself - I just loved it totally.

The resolution PPK proffers could be a little distant for a society that has been strongly recommending an entirely opposite way of survival. But, the justification that prologues this resolution comes like a bitter truth, at least for the PPK universe. And there, Elan and crew succeed.

- Santhosh Mathevan,
Chennai, August 11, 2018.

A part or complete version of this review by Santhosh Mathevan has appeared in This viewer's note is completely based on the perceptions of Santhosh Mathevan alone. This does not reflect the views of two or more people or a community. Queries and criticism shall be addressed to the writer only.