Ponniyin Selvan-2 Review : A Grand Conclusion to a Spectacular Cinematic Event
I have had an years perhaps decades long love affair with Maniratnam’ s cinema. Back in 90s his films used to mean World Cinema to us(they still do!), yet entertain with characters, songs and sequences that one is likely to ever forget. Dil Se has changed what the word ‘cinema’ means for many people, and it did the same for me, explaining what happens when a topical subject gets in the hands of a master of images and poetry on screen. Let’s take a time jump from 1998 to 2023 now…
Ponniyin Selvan, the epic literature work of Kalki written in 1955 is finally getting the on-screen version concluded. Maniratnam at the helm with support from the best in the industry. As an ardent Mani fan, I often wondered how his cinematic treatment would work in a historical(Mahabharat was often announced and dropped, Raavan was his take on Ramayan).
Things we love in a Maniratnam film- well written characters that feel at ease on screen, a relatability irrespective of the genre, scenes that very subtly go from ordinary to something special to magical to memorable, and of course a great eye for framing, lighting, and music!
Ponniyin Selvan-1 or PS-1 made everyone sit and take notice of this master craftsman once again. The AR Rahman fan in me got my share of goosebumps-worthy songs which I had heard a few hundred times before watching the movie. I loved PS-1 despite not having read the novel. I was able to appreciate why this was such a hotly contested script between famous filmmakers and actors through decades. The beats felt familiar to anyone who has read fantasy set against historical setting, a fictional universe but using names, places that we know do or did exist in blood and stone. A story that needed to be told, in the best and grandest fashion possible, perhaps that also explains the years of delay for lack of the perfect balance and a team that could commit, a leader who could sail this ship of ambition.
When PS-1 ended on a cliffhanger, I was truly excited for PS-2, and was assured that we are in for a grander treat, knowing that the team shot both the parts at once, so the magic would only get bigger with the second conclusive part.
When PS-2 album released, it was a shocker of good sorts. AR Rahman delivered a pure score from the heart, giving us classically inclined pieces with grand set pieces of western orchestra at times and ancient or cultural chants and melodies at others. This was a hint that while PS-2 will be bigger on action and drama, there is also going to be the signature Maniratnam poise/soft power/gentle pulling of the rug from beneath your feet.
From the first frame of PS-2, the magic starts to unfold. The backstory of Nandini and Aditha Karikalan is not rushed in typical flashback manner commonly seen, for it is the soul of the movie. But few songs rush all at once. There is a lot happening. There is a beautiful Kurosawa reference yet again in a Mani film.
In few sequences we again jump back to the point where we left PS-1 at. The wartime intrigue, backstabbing, politics of lies(as Nandini calls it in a beautiful scene later on), but all so lived in, so very accessible with colors of wit and charm and a very human-like innocence and flaw.
While most people, as is customary these days, talk about the parameters that judge a film to be a success or failure- the interval block, the climax, the confrontations, I am more personally inclined towards the bit moments in Mani films- like the sea of expressions on Karikalan’s face when he hears about his brothers in/out of danger, the interplay or comic exchange between Nambi and Vanthiyathevan, the Dil Se callback in Nandini being adorned with jewelry and mocked at for being a future princess, and the fleeting sequences of a lost love/innocence, courtroom intrigue and the assurances of a king, a regal and towering authority but with the gentleness of a feather. Ponniyin Selvan is full of such minute moments of poise and beauty, yet all within telling the very important beats of the classic story.
Haath Do, Haath Mein
Tum Jo Ho Saath Mein
Dhoop Se Maanjhi Hai,
Ye Zameen Saanjhi Hai
Roshni Laaaya Hoon, Zindagi Laaya Hoon
Zindagi Ka Tarana Gaate Raho
Kirnon Mein Khula Hua
Sone Se Dhula Hua
Ye Jo Laal Rang Hai
Lahoo Mein Ghula
Ye Naya Hai, Ye Sunehra Savera Hai
Taj Hai, Zameen Ka Sehra Hai
….From the kalam of Gulzar, the legend who complements this potent project with the fire of his words, and ‘just right’ poetry, here in the song ‘Kholo Kholo/PS-Anthem’ sung by Arijit Singh
What I count as big wins for this film are the satisfying closures to the arcs, respecting the character conflicts, and the interplay of emotions — ambition, love and cruel hand of fate. If it’s a Mani film it will be technically spectacular, that goes without saying. The master here gives more of his treasures in this film like a bonus to his fans new and old- the craft which has become his signature — the wonderful use of light, the close up shots in key sequences, the use of an unexpected sound/score in the background that makes you go wow.
Performances- I have always liked how he treats the good characters in all their righteousness, like Michael in Yuva, or Gurubhai in Guru. Here too, we get a brilliant Jayam Ravi as Arulmozhi Varman who is still work in progress to becoming Raja Raja Chozha. Vikram was born to play Aditha Karikalan and he leaves no stone unturned be in body language, the subtle facial expression changes or the depiction of perennial grief and guilt. Karthi is wonderful in giving the dense plot a levity and kinetism. Aishwarya Rai is always good in Mani films but here she gives a Chozha-size answer to anyone questioning her acting skills.
Ponniyin selvan 2 is a towering achievement in all senses. I did expect it to be great but the very experience of watching these great actors and technicians carry out the story beats and scenes with touch of a magician at helm is something that can only be felt in a packed theater. These moments stay with you long, and make you revisit the film, each time delivering a distinctly unique take-away. I still often think about sequences from his films, be it Bombay, Dil Se, Yuva, Guru, Raavan or the lesser celebrated films in his repertoire like Chekka Chivantha Vaanam or Kaatru Veliyidai, as I am sure many of Mani Sir fans and students of his cinema do, and that is his beauty, you always associate the man with an honesty and consistency(think 40 years of class!) many can only envy.
With these two parts, Maniratnam has gives us a gift to rejoice, a reason to celebrate, and in true regal and grand fashion, with the images of forts, battlefields, temple ponds and the ever-imposing ocean waters drenched in ominous rain, we will all be grooving to Veera Raja Chozha/Chola Chola/Ponni Nadhi/Aga Naga for decades to come.
Kholo Kholo Ye Gagan
Soorya Ko Jagana Hai
Peeth Par Zamana Hai
Zameen Sambhalana
Nayi Hai, Nayi Hai
Kholo Kholo Ye Gagan
Soorya Ko Jagana Hai
Peeth Par Zamana Hai
Zameen Sambhalana
Nayi Hai, Nayi Hai
Subah Bhi Nayi
Aur Baaki Sab Ye Purana Hai
While you are here(presuming), do check out my book on AR Rahman, where I talk at length on Maniratnam and AR Rahman. AR Rahman : On Loop from 27 Years: A Lifelong Mausam of Escape
