Kannathil Muthamittal ((A Peck on the Cheek))
Kannathil Muthamittal ((A Peck on the Cheek))
Yesterday, as I was getting bored decided to see the movie Kannathil Muthamittal (A Peck on the Cheek). I tried getting this movie in Tamilnadu, but thanks to the state's useless DVD policies they cannot be released. The only original Tamil DVDs you get are pictures of my dad's era unless you get to the Pirated Versions which are Illegal thanks to the Tamilnadu Film Artistes.
I got this film from a friend and what an amazing film. The girl Amudha played by Keerthana is simply fantabulous. The role played by Madhavan as the famous freelance writer and Simran, the TV News Reader are simply cool. Keerthana as Amudha certainly brings tears especially when she is told on the beach by Madhavan that she has been adopted and when she asks bout her two brothers... Also the last scene; the daughter and mother talk and how the daughter asks Nandita questions on why she left at the refugee camp, did she ever lift her up in her arms and how the duaghter brings her mother portrayed as a Terrorist/Freedom Fighter, which has been excellently portrayed by Nandita Das simply brings you to tears.
Mani Ratnam's forte is to make films on burning issues. This time, too, with the seething Sri Lankan problem as backdrop, he presents a sensitive story about a delicate flower caught in a storm.
Kannathil Muthamittal (A Peck on the Cheek) is a fine example of his work and a perfectly accessible introduction to anyone who wishes to explore the colourful worlds of Indian or Tamil cinema who thinks that Bollywood musicals might not be quite to their taste.
Tamil film Kannathil Muthamittal does not have any Humma humma [Bombay] or Chhaiya chhaiya [Dil Se] or old dancing women [Roja, Dalapati].
Though the issue has been tackled in a couple of recent Tamil films, Ratnam's Kannathil Muthamittal is way ahead.
An honestly told tale without frills, the film starts with a wedding taking place in the Tamil parts of Sri Lanka. As the husband Dileeppan (Chakravarty) leaves for the rebellion, the pregnant wife Shama (Nandita Das) is forced to go to India, risking the armies of both countries. She survives many hazards in the journey, captured brilliantly by cinematographer Ravi K Chandran.
Midway, she learns that her husband is wounded and wants to return. After she gives birth in the refugee camp, she leaves for her native land and her husband --- but without her daughter.
The girl (Keerthana) grows up in a foster home --- in the Madhavan-Simran household, with two younger brothers for company. She simply is a heart-stealer. Whether it is being peeved with her parents or while bullying her brothers, Keerthana is a wonderful performer.
She also leaves you bewildered --- you don't know whether to marvel at her prowess or empathise with the young child getting to know her roots. She brilliantly portrays turmoil when she comes to know that she is in a foster home, that her grandfather, parents and her brothers are not her blood.
A R Rahman, dialogue writer Sujata and lyricist Vairamuthu lend ample support to this offering, with Sabu Cyril designing the fantastic sets, especially the Sri Lankan portions.
Mani Ratnam seems to have drawn out the best from Simran, who has been shying away from glamorous roles for a while now.
Nandita Das tugs at your heart-strings when she tries to answer her little daughter's questions as to why she deserted her daughter for her motherland and her husband.
Madhavan lives the character of the writer he portrays, shedding off the Maddy [teenyboopper] image he has so often conveyed.
In parting, Mani Ratnam has taken a bold stance at this issue, which he has earlier only hinted at.
Story Line
Amudha is told the truth of her origins by her adoptive parents Indra and Thiru. The young girl of course wants to know her real mother and finds a way of returning to the still war-torn island of Sri Lanka.
The storyline is not in the least complex or even original and there are few surprises as the young Amudha - played with some degree of skill by the young actress P.S. Keerthana, as well as a little bit of sass that the character is obviously meant to possess - decides to take it upon herself to find her mother and eventually gets the support of her parents to take her there. Fortunately her adoptive father is a famous writer and her mother is a TV personality, both of whom are very understanding and resourceful parents. It’s all a little too smooth and non-confrontational, but there is quite a bit of charm in the way the film presents the backstory of how it was in the adopting Amudha that Indra and Thiru came together to marry.
When the story arrives back in Sri Lanka however, the story quite unexpectedly takes a surprising turn. The civil war still continues and the film shows the effects of the war on the people of Sri Lanka - suicide bombers, bombed-out villages, guerrilla fighters prowling the forests and some quite striking Black Hawk Down style battle sequences. It never gets bogged down in the political issues however, but rather addresses the issues in a broader sense - as simply war - and even then it rather naively portrays this as a universal malaise for which international arms dealers are more to blame than religion or politics. That’s not a criticism of the film however - the film make no pretence of being anything more than a voyage of discovery for a young girl and has no more to say about the specifics of a war situation than The Sound of Music had any anything to say about the Anchluss. It uses a real-world situation well, without getting distracted from the purpose of the film and maintains an effective sense of danger that I found quite surprising.
Make no mistake about it, A Peck on the Cheek is melodramatic to its core. With a determined lack of irony, it tells a highly romanticized story of abandonment and reunion, directly played for an emotional response with--in true Bollywood style--schmaltzy pop songs interspersed to heighten the unabashed, unapologetic sentimentality. At the same time, the production values are extraordinary and the performances are sufficiently expert to win over anyone with the slightest receptivity to a good tear-jerking wallow
Director Ratnam pulls out all the stops with bombs exploding, guerilla ambushes, and long processions of refugees miserably leaving their war-torn towns. The reunion takes place in a park as a battle is waged on all sides and, finally, there's a cleansing rainstorm that neatly parallels the rivers of family tears.
As is expected with melodrama, the characterizations are stock and the emotions predictable. But on its own terms A Peck on the Cheek works. The acting breathes life into the characters and the narrative drive is (mostly) well sustained over the two and a quarter hour length of the film. Ratnam, who also co-wrote the screenplay, even manages to get in some pointed lines of anti-war politics ("Those who make weapons have a commercial interest in war.") which give the film an added resonance for an audience troubled by the current conflict.
Finally, I have decided to buy this DVD from Ayngaran International in UK....
Yesterday, as I was getting bored decided to see the movie Kannathil Muthamittal (A Peck on the Cheek). I tried getting this movie in Tamilnadu, but thanks to the state's useless DVD policies they cannot be released. The only original Tamil DVDs you get are pictures of my dad's era unless you get to the Pirated Versions which are Illegal thanks to the Tamilnadu Film Artistes.
I got this film from a friend and what an amazing film. The girl Amudha played by Keerthana is simply fantabulous. The role played by Madhavan as the famous freelance writer and Simran, the TV News Reader are simply cool. Keerthana as Amudha certainly brings tears especially when she is told on the beach by Madhavan that she has been adopted and when she asks bout her two brothers... Also the last scene; the daughter and mother talk and how the daughter asks Nandita questions on why she left at the refugee camp, did she ever lift her up in her arms and how the duaghter brings her mother portrayed as a Terrorist/Freedom Fighter, which has been excellently portrayed by Nandita Das simply brings you to tears.
Mani Ratnam's forte is to make films on burning issues. This time, too, with the seething Sri Lankan problem as backdrop, he presents a sensitive story about a delicate flower caught in a storm.
Kannathil Muthamittal (A Peck on the Cheek) is a fine example of his work and a perfectly accessible introduction to anyone who wishes to explore the colourful worlds of Indian or Tamil cinema who thinks that Bollywood musicals might not be quite to their taste.
Tamil film Kannathil Muthamittal does not have any Humma humma [Bombay] or Chhaiya chhaiya [Dil Se] or old dancing women [Roja, Dalapati].
Though the issue has been tackled in a couple of recent Tamil films, Ratnam's Kannathil Muthamittal is way ahead.
An honestly told tale without frills, the film starts with a wedding taking place in the Tamil parts of Sri Lanka. As the husband Dileeppan (Chakravarty) leaves for the rebellion, the pregnant wife Shama (Nandita Das) is forced to go to India, risking the armies of both countries. She survives many hazards in the journey, captured brilliantly by cinematographer Ravi K Chandran.
Midway, she learns that her husband is wounded and wants to return. After she gives birth in the refugee camp, she leaves for her native land and her husband --- but without her daughter.
The girl (Keerthana) grows up in a foster home --- in the Madhavan-Simran household, with two younger brothers for company. She simply is a heart-stealer. Whether it is being peeved with her parents or while bullying her brothers, Keerthana is a wonderful performer.
She also leaves you bewildered --- you don't know whether to marvel at her prowess or empathise with the young child getting to know her roots. She brilliantly portrays turmoil when she comes to know that she is in a foster home, that her grandfather, parents and her brothers are not her blood.
A R Rahman, dialogue writer Sujata and lyricist Vairamuthu lend ample support to this offering, with Sabu Cyril designing the fantastic sets, especially the Sri Lankan portions.
Mani Ratnam seems to have drawn out the best from Simran, who has been shying away from glamorous roles for a while now.
Nandita Das tugs at your heart-strings when she tries to answer her little daughter's questions as to why she deserted her daughter for her motherland and her husband.
Madhavan lives the character of the writer he portrays, shedding off the Maddy [teenyboopper] image he has so often conveyed.
In parting, Mani Ratnam has taken a bold stance at this issue, which he has earlier only hinted at.
Story Line
Amudha is told the truth of her origins by her adoptive parents Indra and Thiru. The young girl of course wants to know her real mother and finds a way of returning to the still war-torn island of Sri Lanka.
The storyline is not in the least complex or even original and there are few surprises as the young Amudha - played with some degree of skill by the young actress P.S. Keerthana, as well as a little bit of sass that the character is obviously meant to possess - decides to take it upon herself to find her mother and eventually gets the support of her parents to take her there. Fortunately her adoptive father is a famous writer and her mother is a TV personality, both of whom are very understanding and resourceful parents. It’s all a little too smooth and non-confrontational, but there is quite a bit of charm in the way the film presents the backstory of how it was in the adopting Amudha that Indra and Thiru came together to marry.
When the story arrives back in Sri Lanka however, the story quite unexpectedly takes a surprising turn. The civil war still continues and the film shows the effects of the war on the people of Sri Lanka - suicide bombers, bombed-out villages, guerrilla fighters prowling the forests and some quite striking Black Hawk Down style battle sequences. It never gets bogged down in the political issues however, but rather addresses the issues in a broader sense - as simply war - and even then it rather naively portrays this as a universal malaise for which international arms dealers are more to blame than religion or politics. That’s not a criticism of the film however - the film make no pretence of being anything more than a voyage of discovery for a young girl and has no more to say about the specifics of a war situation than The Sound of Music had any anything to say about the Anchluss. It uses a real-world situation well, without getting distracted from the purpose of the film and maintains an effective sense of danger that I found quite surprising.
Make no mistake about it, A Peck on the Cheek is melodramatic to its core. With a determined lack of irony, it tells a highly romanticized story of abandonment and reunion, directly played for an emotional response with--in true Bollywood style--schmaltzy pop songs interspersed to heighten the unabashed, unapologetic sentimentality. At the same time, the production values are extraordinary and the performances are sufficiently expert to win over anyone with the slightest receptivity to a good tear-jerking wallow
Director Ratnam pulls out all the stops with bombs exploding, guerilla ambushes, and long processions of refugees miserably leaving their war-torn towns. The reunion takes place in a park as a battle is waged on all sides and, finally, there's a cleansing rainstorm that neatly parallels the rivers of family tears.
As is expected with melodrama, the characterizations are stock and the emotions predictable. But on its own terms A Peck on the Cheek works. The acting breathes life into the characters and the narrative drive is (mostly) well sustained over the two and a quarter hour length of the film. Ratnam, who also co-wrote the screenplay, even manages to get in some pointed lines of anti-war politics ("Those who make weapons have a commercial interest in war.") which give the film an added resonance for an audience troubled by the current conflict.
Finally, I have decided to buy this DVD from Ayngaran International in UK....
