The female lead of Natchathiram Nagargiradhu. Rene(who brilliantly captures the shrouded layers of this enigmatic character) is someone who lives life on her own terms. She has given herself the name she wants to be called in order to show that she is braver and stronger than those who might question her assigned caste. However, instead of living up to the assertion with remorse, she is quite confident. In “Who are you to question it?” Rene speaks what comes to her mind and eats what she wants to because she knows no one should judge her for it without knowledge of her whole story.
Like René’s Natchathiram Nagargiradhu, Pa Ranjith’s film is unabashedly outspoken about politics and social issues. Additionally, the film discusses what our lives are truly worth and how we should accept ourselves for who we are; the importance of political correctness; inclusivity; and Ilaiyaraaja as a musical genius.
Ranjith uses the story of a theatre troupe to illuminate how love is being perceived and politicized across this group. Rene has left her boyfriend, a move Iniyian feels devalues his presence in their relationship. Arjun, who views the world from movies, is drawn to Rene and even though he’s engaged to a woman his family suggested for him, he can’t help but view their first meeting as too much for him. There is also Sekar trying to woo Merlin, who is considerably younger than him at 49 years old. Sylvia is also in the group and she’s just started dating Joel, a man in the group that has feelings for someone else within the group (Sekar). A married man (Zubin) in an interfaith marriage plays out with his lover while they are both on long distance.
Despite being about love, the film does not romanticize it. The Rene-Iniyan track is entirely realistic. (lovers who have broken up. But unable to forget each other) is presented in a matter of fact manner. Even the scene in which they first meet is not presented as a “meet cute”. But as something that informs us about their characters. Iniyan is fascinated by Rene’s views of life while she sees the toxicity in him. A bike trip through picturesque locations in Kerala. At a point when they are tentatively exploring the indescribable attraction that they are starting to have for each other becomes a moment to mull over the history of oppression. It’s the exact opposite of what you get in a Gautham Vasudev Menon film.
Sarpatta Parambarai is a delightful and emotionally captivating film, its visuals beautifully capturing the energy of the script. Ranjith’s direction and Kishor Kumar’s cinematography match each other in fluidity. So that there is never a sense of choreography to what they show on screen. The seamless connection of scenes while they are presented simultaneously gives Selva RK an opportunity to shape images in a way that suits the script.
There are a few different formats that the protagonist navigates in this movie. For example, there’s a scene where the characters discuss the theme of their play. But then it quickly becomes a documentary-ensue discussion about love, caste and honor killings. Arjun develops into a satirical short film on caste along with some scenes that mirror the aesthetics of a play. Tenma’s music is unlike anything. We’ve seen before in Indian cinema. And Meri Pyaari Bindu has footage that you can’t help but think is from an actual documentary placed at various points in it.
