This week, we have been offered with two very differently made thrillers out of which only one stands out largely for it’s very rooted and an organic sketched story and justifies its genre completely! I’m talking about Kurangu Bommai directed by debutant Nithilan Swaminathan, who has made his way by making a series of short films and finally a feature film now. Nithilan is the new addition to the list of directors that came through short films and have succeeded quite brilliantly through their debut attempt itself!
Kurangu bommai stands out hugely from Puriyatha Puthir in a way that there isn’t even a pinch of dramaticism in it’s narrative. One of the key notes that we would notice in an edge of the seat thrillers is that, dramaticism is avoided to a large extent. This is where Puriyatha Puthir couldn’t offer us with what it intended to. Well, I’m going to concentrate on Kurangu Bommai and what kind of lessons that this film has offered us with.
Closure of a Character was quite Organic!
Closure of a character in a story is something that differs from a story to story. By closure, it doesn’t mean just ending the scope of that character at a point in the story. The knots and conflicts surrounding that character must be accomplished as in the story that would give a feel of an accomplishment for the viewer. Each and every question raised within the minds of the viewer would all be answered right away when given an apt closure for that character. Take Ramesh Tilak’s role in Puriyatha Puthir. Was the role given an apt closure in the film? It did raise questions for me on why did one even require to put in that character in the film. But, since it has been incorporated into the story, there obviously could’ve been a closure to it in a more organic manner.
In Kurangu Bommai, closure of a character is dealt with utmost perfection and has been achieved through symmetry in the narrative! The rationale for Bharathiraja’s unconditional love towards Ekambaram was justified in the flashback narrated through Bharathiraja. Also,This made more sense to us when Ekambaram returns to Sekar’s place not for money, but for his friend -Bharathiraja. Love binds them both! How Bharathiraja narrates that he was considered to be a peedai by his father in the flashback (kai-kaal velangadhavan) and the apt end to Sekar’s character are some of the finest examples of the director’s exemplary writing in sketching out closure for his characters (I’m not spoiling the climax for you).
The Writer’s liberty in the Cinematic medium
This film justifies the famous line ‘What you seek is seeking you’. The idea of Vidharth searching everywhere despite having it with him are some very ‘pun intended’ scenes which one doesn’t get to watch everyday in films. Vidharth takes help from a thief to find his father in return for the suitcase. But what’s in the suitcase? Watch the film. However, some would’ve felt that certain events in this film were too forceful that were incorporated just for the movement of the story. Scenes like the one in the police station, the scene where Vidharth forgets the bag in the hospital and also the character of the thief travelling with Vidharth who is the reason for the whole story to unfollow! These are the ones where one would have felt it as a little forceful. But that’s how a writer’s liberty works!
These are not improvisations made to suit the story. This is how the story follows according to the writer! This writer’s liberty are taken by many as it is quite suitable for cinematic mediums. Take maanagaram, 8 thottakkal or any film, there will be scenes where a writer would’ve used his liberty in the work.
The nature of the characters forms the conflict!
Like I said in the beginning, this film is quite rooted in it’s nature. Be it the qualities that the characters possess or the looks of the artists, these are all quite rooted! This is how the conflict arises, due to the rooted nature of the characters! The problem is initiated when Ekambaram sends Bharathiraja for a costly deal as he has no one else to bet with such a costly affair. Here, he doesn’t want to lose the money and sends his own friend. Bharathiraja is however questioned by people surrounding him on why he still is with Ekambaram knowing that he is not a good guy. Yet, he chooses to be on his side for the friendship that he shares with him despite a repeated number of embarrassing incidents.
The problem worsens when Sekar wants to kill Bharathiraja for a huge gain where sekar is helped by another man (torn slippers) who is in need of money for his daughter’s marriage. Vidharth is into this play when he helps the man (torn slippers). Vidharth could’ve walked away right? He wouldn’t because that’s how rooted the character is. He wanted to help that man! The only common shade that binds all the characters is the love that they possess by nature inside them. Essentially, this forms the conflict in the story- Love vs money. Finally when the hero confronts the villain, he teaches him a lesson that the sufferings of life can be tackled only by love and not money thereby solving the conflict!
Do watch the film in theatres and start appreciating it!