True, PS-1’s first part can seem something of a complicated, highlights reel, yet its riches are undeniable
Illustration/Uday Mohite
A news Mani Ratnam film is always enthusiastically awaited, and his Ponniyin Selvan-1 (PS-1, Son of Ponni/river Cauvery) is majestic, enthralling and buzzed in my head for days. It is a period drama based on Kalki Krishnamurthy’s five-part eponymous Tamil novel of 1955, a fiction based on real, historical facts during the Cholas’ reign from 9th-13th century CE. It is tricky keeping track of the narrative, with at least a dozen key characters, and the film criss-crossing time spans and countries. Whereas Bollywood’s heroes are Raj or Bunty, here protagonists have names like Periya Pazhuvettaraiyar. I enjoyed the film tremendously, then keenly sought explanations: a mini industry has mushroomed on youtube to explain PS-1’s story (with 3.3 million hits collectively, so, like me, millions want to know), and asked Tamil friends about narrative and cultural nuances. Of course, any film should be self-explanatory. But this film was glorious enough for me to seek explanations for what I didn’t follow: I’ve made family tree charts and copious notes. The film is currently in all-India theatres.
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PS-1 is essentially a story about political intrigue in the Chola era, a palace succession story with rivalry, treachery, sacrifice, wars, hot frisson and thwarted love affairs, with some marvellously staged songs and dances. What I understood broadly of the story is this: ailing Emperor Sundara Chola (Prakash Raj) is concerned about who will succeed him to the throne: he has three children Aditha Karikalan (Vikram), Kundavai (Trisha) and Arunmozhi (Jayam Ravi), who has been sent to Ceylon/Sri Lanka. While Aditha Karikalan seems heir apparent, two external siblings Periya Pazhuvettaraiyar (R Sarathkumar) and Chinna Pazhuvettaraiyar (R Parthiban) are plotting to put the royal siblings’ uncle Madhurantakan (Rahman) on the throne. Moreover, Periya Pazhuvettaraiyar’s wife Nandini (Aishwarya Rai Bachchan), who has an old personal connection to Aditha, ramps up the mystery and intrigue. Enemy Pandya rebels are also fomenting trouble. Vallavarayan Vanthiyathevan (Karthi) is Aditha Karikalan’s buddy, emissary between the three, far-flung siblings, warrior, lover, comic and sutradhar all in one; and we see the film from his viewpoint.
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Mani Ratnam, directing this magnum opus—about his 27th film—is at the top of his game. His films have long been all-India films, since Roja (1992), so 30 years, long before the recent spate of South Indian, all-India films, including Baahubali (2015), RRR, KGF and Pushpa. His films have been globally acclaimed at the Berlin, Venice and Toronto film festivals since decades. Mani Ratnam’s PS-1 has more in common with Akira Kurosawa’s pre-VFX Kagemusha and especially Ran, with his minimalist, yet epic, less-is-more approach, and visual poetry--than with SS Rajamouli’s Baahubali or this year’s RRR.
While both PS-1 and Baahubali have palace intrigues in common, it is patently unfair to compare the two filmmakers, as their narrative treatment and pleasures are entirely different, each uniquely important. Ratnam has always been interested in the challenge of marrying arthouse with mainstream; even his epic moments are realistic; so he’s not striving for either box-office bonanza-friendly VFX-driven battlefield wizardry, nor ‘massy’ delights like RRR’s Naatu Naatu song and dance. Rather his stately Ratchasa Maamaney dance draws from the epics, and traditional dance forms like theyyam; the suspended dancers’ ropes are not airbrushed away. And I wouldn’t even presume to compare Ratnam with Bollywood’s ambitious offerings like Brahmastra.
True, PS-1’s first part can seem something of a complicated, highlights reel, yet its riches are undeniable. Vikram is memorable, and all the key leads are superb, including Trisha, Jayam Ravi and Aishwarya Rai Bachchan—but Karthi, who is allowed more room, steals the show. The strong screenplay by Mani Ratnam, Jeyamohan and Elango Kumaravel, incorporates all the navarasas. Jeyamohan’s dialogues are astonishing: he establishes Aditha Karikalan’s history, love interest and motivation in a few lines: his blood lust and wars are in order to forget his thwarted love, to forget who he is. Uff! Even in this action-loaded film, women play key roles: Kundavai’s intelligence coolly outwits the men in political chicanery; a mere boatgirl Poonguzhali (Aishwarya Lekshmi) can easily kind of flirt with Crown Prince Arunmozhi; while Nandini uses her seductive allure to drive her stratagems. Cinematographer Ravi Varman is sublime, relishing remarkable action during war on land and sea, as well as fleeting, small moments.
Production designer Thota Tharrani is brilliant; together they also tribute Ran’s elemental black-and-red theme. Sound designer Anand Krishnamoorthi is good too. Editor Sreekar Prasad keeps it brisk, while coping with condensing vast material into 2 hours 47 minutes. AR Rahman’s music wonderfully elevates the film, and includes evocative songs. The producers are Mani Ratnam’s Madras Talkies and Subaskaran’s Lyca Productions. The women crew include lyricist Krithika Nelson and choreographer Brinda. Keenly look forward to PS-2.
Meenakshi Shedde is India and South Asia Delegate to the Berlin International Film Festival, National Award-winning critic, curator to festivals worldwide and journalist.
Reach her at meenakshi.shedde @mid-day.com
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