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Sai Pallavi on Paava Kadhaigal, honour killing and Vetri Maaran: Interview

Sai pallavi, in an in-depth conversation with indiatoday.in, speaks about the process of oor iravu in paava kadhaigal, working with vetri maaran and taking a medical exam during the pandemic..

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Netflix’s Paava Kadhaigal consists of four stories written by Vetri Maaran, Sudha Kongara Prasad, Gautham Menon and Vignesh Shivan. Vetri Maaran’s short film, titled Oor Iravu, which runs for 36 minutes, stars Sai Pallavi and Prakash Raj in the lead roles.

Paava Kadhaigal explores how love, pride and honour influence complex relationships through four intricate and beautiful stories. Oor Iravu talks about how a father would go to the extent of killing his pregnant daughter in the name of honour. In an in-depth conversation with IndiaToday.in, Sai Pallavi talks about how impromptu her performance was, working with Vetri Maaran and how Oor Iravu has educated her.

Excerpts from our conversation:

When Vetri Maaran narrated the script, at which point did you decide to do the film?

He [Vetri Maaran] didn’t give me the complete script. Only on the day of the shoot, I came to know the dialogues and setup. I generally like being prepared when I walk on to a set. This was a different experience for me. He gave me the gist of what happens and the journey my character and my dad's will go through. Deep inside my heart, I wanted to speak my heart out. We have been exposed to crimes against women in the name of pride. We have a group of people who give excuses for their doings like how my dad [played by Prakash Raj] does in the film. It doesn’t make it right. What is the use of protecting a culture when you don’t have humanity?

I watched Visaranai and was shocked. It made me uncomfortable because I came to realise that it [police brutality] existed. I realised that Oor Iravu is going to be 30 minutes but going to be as elaborate as it gets. I found the intense moments in the film very painful. I was counting on that emotion because when people watched it, it could make them introspect. It could be the start of a conversation. This was me telling myself that I was contributing. In a way, I felt less guilty. I wouldn’t want to sit at home and cry thinking about what was happening in the world. Maybe I am blessed with this form of art as I can express. I found this quite liberating.

You said you like to go the sets prepared. How did you prep for the role especially when you didn’t have the script?

I’ve played a pregnant woman in Maari 2 before. It’s different when you have pillow stuffed and when you have a prosthetic tummy. It changes a lot. What I had to change was the way I walked. I walk very fast in my day-to-day life. Even when I slowed it down, it was of normal speed. So, I had to slow it down even more. I had Vetri sir tell me to walk slower even as we were shooting.

Once you have a prosthetic tummy, it puts a lot of pressure on your body. You wouldn’t be able to breathe for a while. I called my mom and said, “Mom, it’s hurting.” She said, “That’s how it is when you’re pregnant. It’s hard to breathe. Pallavi, it’s 2-3 days. So, get it done with.” I think women are goddesses to go through that pain, still remain happy and want to have a second child. Otherwise, I didn’t have much to prep because I was not aware of what I was going to do in the scene. It was a raw experience because I did what I felt at the moment on the shoot. The emotions were organic as I didn’t prep much.

We’ve heard directors say that you are involved in the script and Vetri Maaran believes in utmost detailing. What were your conversations like?

I asked him, “Sir, you haven’t given me the script,” and he said, “I’ll give you the script when I know what I am going to do. I was shocked.” We were one day away from the shoot and he tells me this. I started wondering what if he doesn’t know what he wants to do. You have experiences in the past where the script doesn’t get translated on screen. I always have that insecurity and now I am even more scared. I think it was the blind faith I had in Vetri sir, it worked for this script. If I was that prepared, I think it wouldn’t be as real.

As I was shooting a scene, Vetri sir asked me to say the dialogue, which hit my heart and I cried more. For example, I say the dialogue, “Appa naan dane unga favourite (Dad, I’m your favourite),” it’s a simple one. But, when you say it at that point, it has a lot of meaning. He told me this dialogue half an hour before the shot and when I said it out loud, it hurt me so much. I felt, “Dad you’re willing to see me go through pain for some belief of yours.” It’s the most intense script I had worked on and the one that hurt me the most. Before this, it was Kali. In the second half when the lorry driver chases me, I actually got scared. After that, it was Oor Iravu.

The most disturbing aspect of Oor Iravu is that honour killing still exists in our country. Was this running in your mind when you shot for it?

It was after I shot for it that I felt it. When I was shooting for the film, I didn’t realise how it would play out. I was going through multiple emotions at that time. In the film, they brought me home and they’re doing this to me. I was unaware of the impact that it would have on society. It was when I dubbed for it that I realised. I disconnected from the character and when I watched it, it was more disturbing. I am glad that Vetri Maaran has done it in a way that one might feel bad for what their daughter might go through if they decide to do it to her. If the film starts a conversation, it’d be the start of a change. I am glad I am a part of this project that could be a conversation starter. I think if people can see and feel the pain, it might work.

Oor Iravu from Paava Kadhaigal showed the disturbing reality. Do you think sensitive issues like this should show reality and not glorify it for the sake of cinematic liberty?

All of us have that trait in us that when people point out our flaws, we get defensive. We say that there’s a reason for their action. We’ve made it so normal that we fail to question it. How many of us are okay with sharing a plate or a glass with a helper or maid? In the grassroots level, if we start seeing change, we might be able to treat people equally. We wouldn’t have to take pride in coming from a particular community, which is something we [humans] created. It is not an alien thing where one person does it. All of us do that in some capacity. In my village, people from other community leave their slippers outside. They have been taught that way for ages and they do it even if we don’t ask them to. I never realised it. But, after working with such directors and being part of this kind of cinema, you are educated politically. You try to see things which you have avoided all these years. I’ve grown as a person, educated and been taught a lesson. So, I hope we all change.

Can you talk us through your emotions during the climax portions?

I was appalled thinking about how my dad puts me in a room where I am crying in pain. At one point, he comes and sees if am dead and he has come to that level. At that point, the baby inside me stopped moving. I had this internal conflict that I am his child and I am carrying my child, unable to help. I was being a child and a mother at the same time. I was torn apart. Even if you turn 50, your parents pamper you. I was thinking where is the love? All that I had was pent up frustration. That was a disturbing thought of being betrayed by your father. I would want to be with my father but not at the cost of my child. So, that battle was strenuous. I remember being exhausted. Whenever I finished performing the scene or dubbed for it, I would come home and cry for a while. Even talking about it makes me feel weak.

But, it also worries me that me talking about it so much would give out a different impression. But, it’s a very internal thing. Few films have an impact on you internally. Professionally, there may be roles that wouldn’t help you much as an actor, but internally it would shake you. This was one of the films that shook me from within.

We saw you write a medical exam in Trichy. Are you looking to practice medicine?

I was going crazy during the lockdown. I like to stay at home, but I like to be disciplined as well. I was starting to forget what I learnt because I haven’t touched my books in four years. I felt so betrayed thinking that I have put six years into medicine and this is not how I would want to go down. That’s how I went back to books because I wanted to use the time. I was thinking if I had given my exam before, I could have gone to the hospital during the Covid-19 pandemic. I felt so useless. I’ve put six years of hard work, my blood and soul into medicine. This is one time where they need medical personnel and I wasn’t ready. That’s why I thought of giving the exam. There might be another time. Well, I hope we don’t have another pandemic. If there’s another time, I want to be useful. That’s what drove me to prepare for the exam.

ALSO SEE | Paava Kadhaigal Movie Review: A timely anthology on caste pride and honour

ALSO SEE | Netflix's Paava Kadhaigal to release on December 18. Watch teaser

ALSO WATCH | Sai Pallavi Interview: Paava Kadhaigal, honour killing and pursuing medicine Published By: K Janani Published On: Dec 18, 2020 --- ENDS ---

'Vetri Maaran sir never gave me the script of our film'

The Tamil anthology, Paava Kadhaigal , which is coming out on Netflix on December 18, is quite a breakthrough in the trend of anthologies that have been quite the rage, this year. It’s a departure from the rather generic topics typically handled by such film collections. Among anthologies that have descended into our television are those themed on lust, ghosts, morality… you get the idea. With Paava Kadhaigal , the boundaries are narrower, and the topic handled by the four filmmakers—Sudha Kongara, Vignesh Shivan, Gautham Menon and Vetri Maaran—is one that’s as sensitive as it’s specific — honour killings. Here’s the brain behind the topic and one of the directors of the anthology, Vetri Maaran, and the heroine of his segment, Sai Pallavi in conversation with us.

Vetri Maaran, could you expand upon how this topic of honour killings was chosen?

About five years ago, the plan was to make an anthology to mark 100 years of Indian cinema, featuring directors like Ameer, Gautham Menon, Venkat Prabhu and myself, but that project fell through and it got made in Hindi. When I was approached again about the topic of making something about love, I wasn’t too interested. Love dhaan irukke elaa padathlayum — we either make love stories surrounded by other elements or use love to coat an unrelated story. I was keen that we do something unique in this space, something that would allow us to utilise the freedom that OTT platforms accord filmmakers.

For filmmakers like Gautham Menon and Vignesh Shivan, this topic must have seemed quite unusual. Did you all have any concerns over dealing with such a sensitive topic?

Vetri Maaran : If they had any concerns about this topic, they didn’t tell me. (Laughs) The truth is, all of us had some reservations. Even I had my concerns. You see, when you handle such a topic, there’s a good chance that you could face backlash from both sides, the one you are raising a voice for, and the side that you are raising a voice against. And yet, I thought that it would all be worth it.

Any worries that the topic, on account of its specificity, could cause multiple filmmakers to create similar material? Did you guys exchange notes about your stories?

VM : (Laughs) Adhelaam onnum pannala . Gautham knew about my film. I understand that Sudha and Vignesh had shared with him their stories as well. None of us knew about his story though. He’s used a poster in his film that makes a reference to mine. I also want to clarify that we think of this anthology as being one about sin — and that makes the canvas broader. Also, honour killings need not always be about love. You see this in films of both Gautham and to a certain extent, Sudha as well.

Having caught an advance screening of the anthology, one of my favourite aspects of your segment, Oor Iravu, is how realistic the setup of that native house of Sai Pallavi’s character is, and how authentic its inhabitants are.

VM: I have some experience with such spaces as my grandmother’s place looks somewhat like that. However, I relied a lot on my friend, Manimaaran, for his inputs, as he is really in touch with the life and people of such places. He gave me plenty of information. My strength is in being able to sift through that and pick up what’s useful for the film. Once we design the basic choreography for shots, we then go about adding small details to make the frame rich with activity.

Sai Pallavi : The setup was not completely new to me. I have lived in Coimbatore; my native place is Kotagiri, and I have attended many functions and festivals there. However, how I react to situations is different from how my character does. When sir (Vetri Maaran) gave me the one-liner for the story, I was eager to get hold of the script. I kept asking him about it as I like to prepare mentally, especially for intense sequences like those in this segment. I never got it (Vetri Maaran laughs). Only during the shooting did I understand what this story was asking of me. Whatever I have performed is an organic response on the shooting spot, to the script and my character.

Sai Pallavi, your character experiences quite a bit of trauma in this film. Do you channel trauma from your own life to play such characters, or do you try to put yourself in the shoes of your character? 

SP : I had no time for preparation to play my character in this film. So, whatever I’ve done in this film is almost an instinctive response to the plight of my character. Sir’s dialogues in the segment are realistic and aimed at recreating a believable household and relationships. I think I put myself through quite a lot for this film. I tried to mask the trauma I was feeling, but I think he (referring to Vetri Maaran) figured that I was disturbed and kept checking if I was doing all right. My performance in this film is just raw emotion. I watched the film again two days back and felt nauseous and disturbed about its events. The impact is a result of the realistic environment that he has created in this film.

I must also say what a big relief it is to have someone like you playing such characters, given how relatable and lifelike you look in these roles. Have you ever faced the pressure to conform and be decked up and caked in make-up as is expected of the average heroine?

SP : The truth is, I have never been put in a spot where the directors wanted me to be like… another person. There has always been a healthy conversation between me and the directors. In fact, sometimes, when I have done look tests with make-up, some have told me that they prefer that I look more natural. I do think that the emotions come through better without as many layers of make-up. I have not had to worry about industry pressure to conform; I am blessed that way.

While Tamil cinema has historically vilified urban spaces as the hotbed of corruption, your (Vetri Maaran) story paints the city as a more equal place, a safer home.

VM: I do think that peer pressure is not as prevalent in cities as it is in towns and villages. Those who come to the city from villages go through a bit of struggle and so, go on to define the city by those struggles. However, I was born and raised in Chennai, and know the good and the bad here. It’s not a one-sided experience. Perhaps that’s why I don’t find myself portraying the city as just a negative space. Also, this subtext you are speaking of—of cities being safer—is quite true when it comes to caste oppression. Having said that, there’s quite a bit of it here too, of course—like apartment communities in which only those belonging to the same caste unite. Earlier, such caste solidarity was shown in the streets, but now, horizontal spaces have turned vertical.

Typically, films on such topics tend to end on a preachy note. Your film focusses more on capturing the microscopic details of a disturbing experience. Did you mean for people to have any specific takeaways?

VM : I have always maintained that with such films, filmmakers are trying to reflect society as it is. My aim with Oor Iravil was to try and get closer and understand the mentality of those who engage in such barbaric acts. I also notice that the system allows for such things to happen. The legal system too seems to fail in handling punishment. My objective was to start a discussion, a conversation. That would be a start to understanding this topic better.

Here's the full video:

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Season 1 – Paava Kadhaigal

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Paava Kadhaigal

• Edit source

Paava Kadhaigal is an Indian drama series. The series follows four short films that explore stories of those who dare to dream and desire and those determined to stand in their way.

• 2 Cast and Characters
• 5.1 Promotional Videos
• 5.2 Promotional Images
• 7 References

Summary [ ]

Cast and characters [ ].

• Kalidas Jayaram as Sathaar
• Shanthnu Bhagyaraj as Thangam
• Bhavani Sre as (segment "Thangam")
• Kalki Koechlin as Penelope
• Anjali as Aadhilakshmi / Jothilakshmi
• Padam Kumar as Veerasimman
• Prakash Raj as (segment "Oor Iravu")
• Sai Pallavi as (segment "Oor Iravu")
• Hari as Adhilakshmi's Boyfriend
• Gautham Vasudev Menon as Satya
• Simran as Mathi

Episodes [ ]

• Love Panna Uttranum

Gallery [ ]

Promotional videos [ ].

Promotional Images [ ]

See more [ ].

References [ ]

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• 2 Massimo Torricelli

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Paava Kadhaigal Review: Sudha Kongara’s Thangam Is ‘Precious’ In A Jewel That Has Other Didactic Gems Too

Sudha kongara, vignesh sivan, vetrimaaran, gautham menon create their worlds with rawness in paava kadhaigal and expect you to be the judge to it..

‘Discrimination’ is a word that has become a part of our vocabulary for years now and practised in our society for as long as we know. Paava Kadhaigal that hits Netflix today brings together 4 of the most woke and noteworthy Tamil filmmakers Sudha Kongara, Vignesh Shivan, Gautham Menon and Vetrimaaran to create an anthology that portrays shades of discrimination and what it costs to the people who dream. While Sudha’s Thangam left me shattered, read on to know what I felt about the others.

Director: Sudha Kongara

Cast: Kalidas Jayaram, Shanthnu Bhagyaraj, and Bhavani Sre.

Heads up, this is THE best short in Paava Kadhaigal that is raw and doesn’t require polished edges. Sudha Kongara, for the ones who have seen her work, has a perspective that takes you through the evil and leaves you at a possible redemption. With Thangam, Kongara does not take that route, rather she leaves you in the dystopia that we are living in for ages now. Centre of it all is Sathaar, a trans man (Kalidas Jayaram) living a life subjected to scrutiny in a small town in South of India. He is in love with his childhood best friend, whom he calls Precious and I would want you to remember him like that (watch to know why).

Precious is in love with Sathaar’s sister. This does upset Sathaar, and he even envies her but then his Precious loves her, and he has to unite them. Sudha seems to have researched deep to not fall in the trap of stereotypes. Sadly transmen are only used as comic relief, Kongara in a first gives them a voice. Kalidas is a work of art, I said this in Putham Pudhu Kaalai review too and I stand by it. He plays Sathaar with such honesty and detailing that for not even second it seems to be an out of body experience for him. Thangam is not an easy watch, it is about a gender that has been scrutinised for aeons, you understand this when Sathaar’s mother tells him to end his life or she will have to kill her daughters. Kongara becomes the voice and one that matters.

Love Panna Uttranum

Director: Vignesh Shivan

Cast: Kalki Koechlin & Anjali

Vignesh Sivan in Paava Kadhaigal with his short tries to create a universe that is set in the realm of realism but adds factors that make it bizarre. He creates a landscape where people strive to protect their honour and bloodline over their lives. A father is ready to kill his daughter, and the same man acts like he supports inter-caste marriages. What happens with the couple who dare to marry outside their caste is gut-wrenching.

Love Panna Uttranum suffers a lack of time. This one out of the lot if not a full-fledged film deserved a bit more time to explore Shivan’s minute inputs. Be it the weird cult that they follow, or the representation of the LGBTQ+ community, it deserved some more screen time. Kalki Koechlin and Anjali both get their characters right. Not much goes into creating them as the universe they are set in, takes the centre stage. Shivan’s short turned out to be underwhelming even with an intriguing set up.

Director: Gautham Menon

Cast: Gautham Menon, Simran and ensemble.

Menon with his films always creates a conversation. Be it on the screen or between his viewers. This time around it is the conversation that happens in our heads. The topic is rape. With Vaanmagal in Paava Kadhaigal, Menon does not focus on the revolt or the rebel, he instead decides to focus on what all happens before that, just after the horrific event has occurred. The mother hiding it from the world, father not able to look into his daughter’s eye, brother fuming with rage to burn down the world inching close to an outburst. All of it happens in a house. Some would miss the point of Vaanmagal as it does not give you a conclusion, yes metaphorically the criminal has to pay but at the cost of creating another criminal.

A criminal is also in our minds that think extreme; you will see why I said that. Menon and Simran play their parts with their hearts in the right place. Simran especially brings the emotional struggle effortlessly on screen.

Director: Vetrimaaran

Cast: Sai Pallavi , Prakash Raj and ensemble.

If you want to make the silences speak and eyes emote what they feel, hail the master Vetrimaaran. Politics and the ideology of people the story is set in, have always been Vetrimaaran’s most prominent tools to shape his stories. With Oor Iravu in Paava Kadhaigal, the filmmaker addresses honour killing. Not in a way Love Panna Uttranum does, they do follow a same pattern but the emotions are poles apart.

Prakash Raj and Sai Pallavi are a treat. Both get into their characters and play it with realism. The set design in Vetrimaaran’s films also plays a very huge part and here he creates two stark different households that delve distinct ideologies. The facts that run on in the end hint at this one being a real-life story. If it is I can only imagine the horrors that might have happened in that house the night. Watch this one for the standard Vetrimaaran silences, and the ghost of orthodox living in the mind of a patriarchal father.

Paava Kadhaigal Review: The Last Word

I always say this, when politics of the land unbiasedly makes it to the cinema, we as an audience are standing in front of a mirror. If the reflection bothers you, a revolution is needed. Sudha Kongara, Vignesh Sivan, Vetrimaaran, Gautham Menon create their worlds with rawness and expect you to be the judge to it. Watch Paava Kadhaigal, you must, to see how powerful voices can bring a change in the society, if not a change can at least set off an alarm.

Three and a half stars.

Must Read: Kartik Aaryan Collaborating With Vasan Bala For A Superhero Flick Titled Phantom?

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‘Gave me a different perspective’: Sai Pallavi on ‘Paava Kadhaigal’ with Vetrimaaran

Netflix India is all set to release its first Tamil anthology film, Paava Kadhaigal , on December 18. It will will have four segments, each directed by Vetrimaaran, Gautham Vasudev Menon, Sudha Kongara and Vignesh Shivan, who also recently released the teaser. The segments each have a stellar cast which includes Anjali, Bhavani Sre, Gautham Vasudev Menon, Hari, Kalidas Jayaram, Kalki Koechlin, Padam Kumar, Prakash Raj, Sai Pallavi, Shanthnu Bhagyaraj and Simran, among others. Sai Pallavi is part of director Vetrimaran's segment. In a recent interview with Bollywood Hungama, Sai Pallavi delved into the details about her experience with Vetrimaaran for this 30-minute segment in the anthology. Sai Pallavi plays the daughter of Prakash Raj in Paava Kadhaigal. In the interview, she let her fans know how she felt intimidated in the beginning to share the screen with an experienced actor like Prakash Raj. She also touched upon how it is more liberating to do films for OTT platforms than the big screen, as the low-pressure environment allows creators to let their innovative ideas flow.

In the interview, Sai Pallavi described her acting in the film as "raw", and the last such performance she gave was in the Malayalam film Kali (2016) with Dulquer Salmaan. She also recalled how Vetrimaaran didn't reveal the full script to her, but she had the feeling that it would be an unforgettable experience. Though she is now a successful actor, Sai Pallavi’s passion is to return to practicing medicine, because she “wants to be of some use”.  

Last seen in Suriya's NGK , Sai Pallavi currently has a few projects in her kitty. Recently, reports emerged that she is most likely to be signed on for the crucial role of Chiranjeevi’s sister in the Telugu remake of the Tamil Vedalam (2015). The role was played by Lakshmi Menon in the original, which was a huge box office hit. The makers are yet to officially announce the rest of the cast and crew.   Sai Pallavi recently wrapped up shooting for Love Story with Naga Chaitanya. This romantic drama is directed by Sekar Kammula, with whom she had earlier worked with for Telugu film Fidaa (2017), which made her a recognised figure in Tollywood. She also has Rana Daggubati's Virataparvam in the pipeline, in which she plays a Naxalite. Her role is believed to be inspired by real-life singer-activist Belli Lalitha. There are also reports that a biopic on the late actor Soundarya is in the works. As per a Times of India report, a popular Telugu filmmaker has initiated talks with the family of Soundarya to get their nod on the biopic. Apparently, Sai Pallavi has been approached to play the titular character, and might give the nod if everything goes according to plan.

Watch Sai Pallavi's interview with Bollywood Hungama here:

(Content provided by Digital Native)

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Episode list

Paava kadhaigal.

S1.E1 ∙ Thangam

S1.E2 ∙ Love Panna Uttranum

S1.E3 ∙ Vaanmagal

S1.E4 ∙ Oor Iravu

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Paava Kadhaigal: ‘Sin’ister Stories Of Caste And Honour

The opening credits of Paava Kadhaigal (translation: 'Sin Stories') lead you into the predictable rendition of a woman's life (childhood, menstruation, marriage etc.). However, the splash of red all over is emblematic of the streaks of cruelty that often befall her. At the outset, all the stories have to be complimented for their exquisite set design, great cast and lovely music. They strike a chord with you and seamlessly weave your interest in the lives of those you root for.

Thangam ( Translation : 'Dear one')

The story, fondly titled Thangam, opens with Saathar and her quest for love and validation. Being a trans woman in the 1800s, she is faced with public ridicule, harassment and bullying, all of which are familiar weapons of society against anyone different from the binary classifications of gender. The story perseveres to tell a gut-wrenching story of Saathar's travails, and it succeeds in part due to the brilliant efforts of Kalidas Jayaram and the rest of the cast. That said, it falters in its writing of the half-baked character of Saathar. The character is envisaged solely through her trans identity and is restricted from exploring other dimensions of her personality. This results in the audience feeling pity for her and sympathising with her because she is a trans person and not because she is a human being. This is also exclusionary as it still positions cisgender persons to view trans people as something out of the ordinary and to feel for them only if they face harassment, rape or, worse, murder. Writing as a cisgender woman, I understand that my voice is not the most authentic source for conveying the emotions and lived experiences of another; however, I believe that when reviewing art such as this, it is important to look at the characters that the author has created and evaluate whether they have authenticity and personality to them. It is when a writer creates a well-rounded individual that I feel art has won in this medium. Unfortunately, Thangam wasn't successful in its attempt to do so. In today's age, where beautiful multi-dimensional trans characters such as Shilpa and Kanchana (of Super Deluxe and Kanchana , respectively) are being written, the lack of effort cannot be excused.

Love Panna Uttranum (Translation: 'Let Them Love')

The second film in Paava Kadhaigal takes the route of a dark comedy and I have to applaud them for this effort. The story revolves around twin daughters of a local politician named Veerasimman, Aadhilakshmi and Jyothilakshmi, and how their respective romantic choices wreak havoc on their family. I enjoyed this movie for the most part as the tonal shift from the looming darkness of Thangam was refreshing. Yet it loses its grip towards the weak climax that was originally intended to be comic relief but comes out as a cowardly move on the part of the director, who chooses not to fully portray the social implications of homosexuality in rural and traditional India. Another problematic element was that even if the director had to have this climax, he could have avoided the epilogue at the end as it was markedly different from the emotion-heavy scenes that the movie had depicted earlier. It seemed like he got so confused between portraying comedy and giving a socio-political sermon that he decided to create a film that is partially representative of both and fully devoid of either. The sanctimonious speech about love and caste could also have been avoided to stay true to its intended genre of a dark comedy.

Vaanmagal (Translation: 'Daughter of the Skies')

Vaanmagal retells the devastating story of every woman in India who has experienced harassment in one form or the other, some being severe and extreme. But the story takes a different angle where they stress on the impact of harassment on the family and not on the victim as much. This is not a novel perspective and frankly, the visceral imagery and the lecherous dialogues played out during the rape scene can amount to second-hand trauma, so maybe directors do not need to take the route of vividly playing out such a scene when the same can be conveyed through other means. Take the example of Varathan (the 2018 Malayalam survival thriller), where the rape scene is not shown but later the character speaks of the harassment she was subjected to in an ambiguous manner, so we are not sure of what precisely happened to her, but it is enough to shock and enrage us into wanting to fight against injustice. Additionally, I found the artistic decision of directing a young girl to act out such graphic scenes grossly inappropriate for her mental health as well.

Also read:  Paava Kadhaigal , a Top-Notch Anthology

In terms of craft, Simran does a wonderful job as the mother of a rape survivor and takes us through the complex emotions of a woman birthed, raised and fed by patriarchy. It takes us back to another marvellous film of 2020, Thappad , which focused on women inheriting patriarchal responsibilities from other women in a way that one does not notice or question. Here, the same can be seen in Simran's internal monologue, as well as in one notable scene where she tells her daughter about the purity of the latter's body, which she needs to protect and preserve at all costs. This kind of pedestalisation of virginity is another reason the trauma surrounding rape is enhanced through the shame and social ostracism that society pronounces on a survivor. However, all these are issues that have been raised in countless movies of the modern era. One scene that particularly struck a note with me is where the character of the father, played by Gautham Vasudev Menon , completely breaks down in front of his wife as he cannot even fathom the amount of pain his daughter has gone through and conveys that he is ashamed to stand in front of her as a man. His tortured dialogue, dissecting each of his daughter's glances and the way she must think about him, cuts deeply and is a fresh perspective on how a family copes with painful events such as these. That said, I wish the film had ended on a dark note because the shift in Simran's temperament seemed unrealistic as she seemed to resolve her trauma and fears surrounding harassment and her daughter's future all too easily. The director could have laid some groundwork for this shift, which would have made this arc more believable.

Oor Iravu (Translation: 'One Night')

The last story in the instalment, Oor Iravu , is my personal favourite out of the lot and haunts me to this day. It is concerned with the relationship between a father and his daughter, and the twists and turns he goes through when she makes a choice that humiliates him. The incredible storytelling that never reveals any hint of its shocking and cruel ending and the excellent performances of Sai Pallavi and Prakash Raj have to be commended for pulling together a modern-day masterpiece of a short story that leaves you hollow inside. What works for this sequence is in the details; the body language and facial expressions of Prakash Raj before and after the big reveal, the colour palette of the city and the village portraying the emotions that run deep beneath the two, the juxtaposition of a city household with a village household, and so on. All of these work to highlight the world of difference between the beliefs of those who reside in a world of 'culture' and those who abide by customs and traditions, the former being open to what this culture is and the latter refusing to let go.

The movie is also a deep and incisive look into casteism and the social atrocities that people have to face on account of the same, and Oor Iravu wins by showing the same through actions and metaphors, not mere words. It is also interesting to note that Oor Iravu has a long-drawn-out scene of violence, yet here the violence and the pain is necessary to the story and heightens its message instead of drowning it in drama. It reads like Tennyson's anti-war poetry; in carefully dissecting the trauma of caste discrimination, one feels the righteous rage and injustice necessary to extinguish it. In all the other stories, the message is conveyed through directly attacking the individual or by giving long speeches, whereas here, it is conveyed through the grieving yet remorseless eyes of a father. It is here that cinema truly achieves what it was created for.

Also read: The four directors of  Paava Kadhaigal on their films

The four stories weave together crimes against women, because at the end of the day, society seeks to attack the one that it has blindly accepted as inferior. The dichotomy lies in the fact that this same society which punishes women, also reveres them as "Devi" or "Shakti." They may be sins of honour and of pride, but it is no joke that the one who often suffers at the edge of the sword is the so-called Devi. Her honour is protected, revered and worshipped like no other, and her forsaking it like Jothilakshmi (from Love Panna Uttranum ) or it being stripped away from her like Ponnuthayi (from Vaanmagal ) is seen as an attack on the pride of a family, of a society and of a people. In their misguided effort to salvage this honour, they sacrifice those that they once held dear, and in fighting against those who sinned, they commit a greater sin. Who is the sinner here? The splash of red that fills a woman's life or the black-and-white background that refuses to see? I believe Paava Kadhaigal answers this question to the best of its abilities.

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Paava Kadhaigal – An emotional journey

Published by raj on december 19, 2020 december 19, 2020.

There were lot of times I wanted to write about the movies or TV series but the lazier side of me got the best. But this one, I shouldn’t really let that join that list.

Lets say I try to avoid family drama genres, as my own is enough. 😀 When Netflix announced the the latest Tamil series Paava Kadhaigal, I couldn’t help but set a reminder for the show.

When it popped during daytime yesterday, I promptly kept it for late night watching without realizing I would finish this in just one sitting.

The title reveals just the tip of the iceberg. It had 4 episodes and each touched or tore my heart slowly and strongly by each part. They were nicely done and the directors took it to new level like an obedient school student with school assignments. Yes, each episode is about a topic – Pride, Love, Sin, Honour respectively.

Episode 1: Thangam

Proving in short movies (or a 30 mins+ episode) is a hit or miss for anyone. But from the first frame, till the last, Kalidas Jayaram occupies the space and our heart. Really well done, not bit less and not a bit more. Those painful eyes or the happy sparkling, he did his best and am sure he would be well recognized for this.

Shanthanu’s subtle screen presence yet powerful carry the play with the utmost maturity he could use. His acting is really notable in the smallest expressions in many frames.

Back to Sudha Kongara and Shan Karuppusamy, – I have no words other than telling them a big thank you to bring out yet other society’s non-sense to the limelight. They really won by miles when we truly disgust the society for what it is.

Episode 2: Love Panna Uttranum

Anjali!! – Somehow I feel she is underrated but has many followers. Again in a short episode with double acting roles, she did justice to both roles. She looks ravishing in one role and like a cute little cat in another.

Kalki’ Koechlin did her best with her mesmerizing voice and broken Tamil which befitted the character perfectly. Astonishingly those swear words were pronounced perfectly by her.

and Vignesh Shivan – thank you for bringing out yet another honour killing story realistically. There were moments were my heart beat excessively and wished really to stop the inevitable.

Episode 3: Vaanmagal

When I saw the name Gautham vasudev menon, I was even more into the next episode and my brain was in no mood to ask for sleep by any means. I have a thing for Gautham vasudev menon – for any of the genres. I loved his underrated Neethane en Posantham as well just like any other movies. I thought I will write about Simran first, but here it goes. This episode was shocking and brought out pain that really took time to recede. He tried to add his usual action a bit but the former leaves some lasting pain which wasn’t interested in any revenge action. As a director he gave a serious punch and as an actor, he did his best for a middle class husband. I even had doubt if he had Ajith in mind for leading character. He looks sharp and speaks sharp but fails to reach the last mile – but again, we wont even notice that.

Simran – She is aging like a fine wine. Her acting is the proof that years of experience and the expression is not missing even the slightest thing. Her acting and screen presence is mesmerizing to watch. I can reckon this one of the best performances in the whole series.

Aditya bhaskar – the little one that got us in the movie 96 played a role and again its a pretty decent performance.

Episode 4: Oor Iravu

Where to start – I cant start with either one of them (Sai Pallavi/Prakash Raj/Vetrimaran). I have to start somewhere though.

Sai Pallavi – Lets say am one of those good contributors to her song ‘Rowdy Baby’ to hit 1 billion views. She has that next door girl charm and bit more with those sparkling eyes and a lot more with her dance. The maturity of the level of acting should be comparable to award winning and the voice that expressed the pain literally was churning my stomach and I was extremely uncomfortable with the powerfulness of the story. She did an amazing job and my only wish is genuinely to take it out of memories soon so that I can move on with my life without the ridiculous flashes of honour killings.

Prakash Raj – I don’t even have any sort of eligibility to talk about his acting. He fitted himself like the skin to his own flesh to the character. Be it the uncertainty or the deep pain inside his heart or the hinting at the cunning other side of the character – I guess he didn’t even try hard but effortlessly expressed and its evident in the screen. Great acting!

Vetrimaaran – As much as I like Gautham Menon, I like vetrimaaran even more seriously. I have nothing but huge respect for him and every one of his movies. I go to theatres only for directors like him. They make it count, really. This episode was final nail in the coffin for that emotional journey. The previous episodes were overwhelming and this was twice of them by comparison. He captured every uncomfortable detail, in detail from the so called honour killing. If people still have humanity this one episode can change their mentality at least in part. My respect to him is even more now. Please continue to do more and that changes the lives. Thank you.

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