While the former played an executioner in Adoor Gopalkrishnan’s Nizhalkuthu, Puri played a similar role in The Hangman.īy saving Balu, he wants to escape this chain and the madness that comes with the imprisonment. On Yamalingam’s sacred bedroom wall, the director adds a photo each of Oduvil Unnikrishnan and Om Puri. He’s a part of a lineage that includes his forefathers who’ve taken up this profession as a part of their dharmic duty. So when he gets a chance to help Balu escape from prison, with the help of his comrades, it’s like he’s getting a chance to redeem himself and achieve a form of salvation by keeping Balu alive. It’s something he can never get over, making him drown in both alcohol and religion.
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As a ‘junior’ hangman in all of 18, he remembers the chilling moment when the person he is asked to execute turns around quietly and tells Yama that he’s innocent…his last words. The mental toll an execution takes on Yamalingam forms the film’s most powerful element. Yamalingam (Vijay Sethupathi) plays the government-appointed hangman but in such a case, aren’t we all hangmen? Balu (Arya) does not get a chance to escape, just like we, the citizens, do not get absolved from the guilt of living in a democracy where capital punishment is still common. As citizens, the tragic ending forces us to sit up and participate in the debate. Designed with thriller-like traits of a heist movie, the film pulls the rug from right under us, taking away the comfort we feel during a successful prison break. SP Jananathan’s Purampokku Engira Podhuvudamai, starring Arya, Vijay Sethupathi and Shaam, is a two-and-a-half-hour-long question mark on what capital punishment means in a democracy. The climax of Purampokku Engira Podhuvudamai The film is often expository and literal, but the sense of helplessness and ideological vacuum in our society that’s shown in the film makes you want to sit up and take the film seriously. This is one such scene in E and Nellai Mani stands in for SP Jananathan himself in the film. Characters in Jananathan’s films often stand in for ideologies, and he explores scenarios where they cross each other. The camera often looks at the two from above, as if their three-dimensional form weren’t as important as what they stood for. It’s a scene that is entirely driven by crackling dialogue. Near the end of the film, the conversation between E and Nellai Mani (Pasupathy in a fine performance) plays out as a philosophical debate between a cynic and an idealist. Jananathan briefly visits and then subverts several such Tamil cinema tropes. A heroine who is a bar dancer is a convenient excuse for an item song, but she is also portrayed with dignity and plays a crucial role in the hero’s journey. The song does not introduce the hero whose name is E it introduces the people for whom E is a stand-in. The kuthu song is not a regular hero introduction number but instead talks of the oppressed classes living in slums, doing jobs that don’t get enough respect (or pay). But, Jananathan is more ideologically-committed than that. You brace yourself for a generic hero-vehicle that pays lip service to social issues. You brace yourself for a docudrama, but twenty minutes into the film you get a kuthu song. E is set in a slum in Chennai and talks about how the privileged classes exploit the unsuspecting oppressed classes for economic gain. The central issue in E is international medical malpractice, like in Fernando Meirelles’s The Constant Gardener which is set in Kenya and talks about how powerful white men use Africans as Guinea pigs to illegally test drugs. SP Jananathan rarely deals with themes, he deals with issues. You see news clippings accompanied by a news reader’s voice describing the historical evolution of biological warfare. He stands amidst the water, literally at sea, watching her leave, shedding a few tears that are only going to drop into the sea anyway.Īs the opening titles roll in E, you think you’re watching a documentary.
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The ending sequence of the film when the heroine’s lost lover returns might seem brief, abrupt, and unsatisfying, much like the protagonist’s own brief romantic interlude with her. It’s a complicated love story that is narrated simply. Unlike his later films, Iyarkai is relatively short on political ideology. The town, with its ships that only anchor briefly before leaving, is a parallel to the unstable love that characters in the film experience. Against the vastness of the sea is the bustle of the small town in which a quiet story of unrequited love is embedded. He shows us the workings of the town of Rameshwaram and the lives of diverse people who throng the port. The background which forms the backdrop of the love story is often more interesting.
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An adaptation of Dostoevsky’s story ‘White Nights’, Jananathan sets a familiar triangle love story in a port town.