Peranbu Movie Review
Mammooty ,Anjali ,Sadhana ,Anjali Ameer ,Samuthirakani,Vadivukkarasi,Livingston,Aruldoss, etc.
Directer – Ram,Producer – P. L. Thenappan,Written – Ram,Music – Yuvan Shankar Raja ,Cinematography – Theni Easwar ,Production Company – Shree Rajalakshmi Films ,PRO – Nikkil etc.
Ram desired with unanimous consent with emotional drama with stuffing out of reality. The director Ram keen on his writings that the scripts focus on bringing the sound at productive of something fresh and unusual, which speaks out on the strong feelings of embarrassment that each frame comes on the realisms. The Mollywood su per star picked out for a stiff script, after the year later in the direction of Ram “Peranbu” reach a destination to wards the audiences. “Peranbu” been a commercial movie, the team doesn’t believe in the flour of love seq uels, love songs with attractive locations, funny comedies and even with the actions. The flick carries on the bond between a father and with the physical affected child. The film carries on the shoulders of Mammootty and Sad hana and the other artists Anjali, Anjali Ameer and Samuthirakani supports the movie.
The film exposes the feelings of the disabled children’s endurance and their parents’ life goes on decisive condit ions and each frame gives with a prominent screenplay. The director Ram modules the film with deluged, that Amudhavan (Mammootty), who lives with his spastic disabled child Paapa (Sadhana), unfortunately Amudhava n’s wife elope with another man that she doesn’t like to struggling with Paapa. To avoid this guilt, Amudhavan and his child live in a hilly region. At a point, a strange lady Anjali (Viji), who enters into Amudhavan’s life, by her behaviour and caring nature, Amudhavan believe in her and both get married, later Amudhavan releases Viji co mes to grab out Amudhavan’s house. By this insult, the single man move to Chennai.
Once he reaches Chennai, the fourteen year old disabled girl facing puberty challenges and even, Amudhavan struggles with his teenage child. By this emotional attachment Amudhavan decided to end up their life. But the director proven that society is still exists with affection. The actor Mammootty survived with the character and bursting out a common man’s feelings, Sadhana given a salutary performance, which audience would be weeping when she fit on screen. The director Ram steps for the sound full scripts, Yuvan Shankar Raja’s songs and BGM has given a glorious output. Great Love never fails.
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The first half of Peranbu is set in the middle of nowhere, and in the midst of nature. It’s a place filled with bird calls, rolling mists, soft shafts of sunlight. The walls of the very pretty house Amudhavan and Paapa begin to live in are made of wood. There’s no electricity, no mobile connectivity, nothing non-natural. Even the father-daug hter bonding occurs not through toys made of plastic but over birds and a horse and countless stars. In the sec ond half, the film moves away from this Eden, to the city. Paradise is truly lost. A couple is caught kissing. A tele vision set makes its appearance, with suggestive songs and dances from the kind of films Ram doesn’t make. But this isn’t an empty exercise in “the big city is bad” school of filmmaking. The urban space is an extension of nat ure, too. It’s just that this version of nature — which also depicts man’s nature — is built with brick and cement.
Ram says he builds his films on a “thesis” — this time, the thesis is nature. Peranbu is divided into chapters whose titles convey that nature can be both benign (Iyarkai arpudhamaanadhu) and malignant (Iyarkai kodooramanadhu). Among other things, the film posits that sexuality is among the most natural things, and it cannot be… well, lock ed behind bars, as the framing of Paapa near windows so often suggests. Think about this for a minute. At a time films about female sexuality are still so rare — we just have, say, Mansore’s Kannada drama, Nathicharami, or Sh onali Bose’s Margarita with a Straw, whose protagonist had cerebral palsy — here’s a film that deals with the sexuality of a differently abled teenage girl. (Sadhana’s fairly convincing performance conveys the character’s physicality better than the emotionality.)
But the film is about Amudhavan, too — his nature. He worked many years as a driver in Dubai, and he has a poe tic bent. (When he learns that Paapa, initially, prefers to stay away from him, he says, “Sooriyanum paniyum maa dhiri vasikka thodanginom.” Like sun and snow. Even the similes are from nature.) He is basically a nice man. Perh aps too nice. His wife left him — he says she’s not a bad woman. Someone cheats him — he says they must have their reasons. He meets Meera (Anjali Ameer, in the film’s sharpest, most sensitive performance), a transgender sex worker — and he doesn’t judge her profession. It may be no accident that the early scenes of Peranbu evoke an unspoiled Eden. Amudhavan’s – and the film’s – compassion is reminiscent of Christ’s, and at least a couple of incidents are woven around churches, hymns and Christian households. A father who has abandoned his son, a mother who has abandoned her daughter — the film doesn’t judge them, either.
But we can’t help judging Amudhavan, at least a little. Like Ram’s other heroes, he marches to a different beat. Or you could say he’s stubborn. When saddled with the responsibility of taking care of Paapa, he doesn’t think of sp ecial schools or therapy. (We’re not shown, at first, what Amudhavan does for money, but presumably, he has some savings from that Dubai stint, and the film shows that affordable caregiving options do exist). Instead, he whisks her off to a barely populated place, where — forget a hospital — even a human is hard to come by. He’s on ly thinking about himself. (Ram’s leading men are always somewhat self-absorbed.) He wants to be away from people. And we ask: But what about Paapa? Doesn’t she need people around, if only for help? Slowly, we realise that Peranbu is not just about the changes in Paapa, but also her father. He has to learn how to be with people again, how to engage again with the world (and its infinite varieties of nature, of which Paapa and Meera are but two manifestations).
Now, for the Balu Mahendra connect. The film I refer to is, of course, Moondram Pirai, with its undercurrent of repressed eroticism. It’s not just that the character played by Anjali, here, is named Viji, which is what the Sridevi character was called in the older film. It’s also that, at least to some of us, Peranbu fills the gaps in Moondram Pirai, showing us what a well-meaning man who locks himself away with a child-like woman would have had to deal with: periods and pads, sanitation and unquenched female sexuality. The name Amudhavan calls his daughter co mes off almost ironic. “Paapa” is no longer a child. Plus, Amudhavan’s sexual feelings are briefly explored, too. Maybe it’s time for a Moondram Pirai remake. Maybe Balu Mahendra’s classic of innocence could use a version where the protagonists are less ideal, more human.
There are a few — only a few — misjudged scenes in Peranbu. Say, the stretch where Meera enters Amudhavan’s house, or the ending, which is revolutionary as an idea but appears forced. (I felt the film essentially ended a lit tle earlier, with Amudhavan and Paapa at the beach.) But the staging keeps you watching. In a remarkable scene with Amudhavan and Paapa, the camera stays afar, tracking between the edges of the screen, while also zooming in — we feel the distance and the closeness that Amudhavan feels. A little later, when Amudhavan is beaten up by men who want his house, we see the violence in a blur, from the far-off viewpoint of Paapa. (She doesn’t un derstand it.) And in a magnificent scene with Amudhavan’s former wife, she’s framed from the waist down — she’s not a person, just a presence. Ram’s films have always displayed love for his protagonists. In Peranbu, we sense much love for the medium, too.
This IS MY Personal Review So Please Go And Watch The Movie InTheaters Only
Written By- T.H.PRASAD -B4U-Ratting-3/5