Seeing the impact all this had on the girl and parents (particularly the adoptive mother) was impressive to watch and sure sparked my interest. Despite a stupid decision and telling her in the worst way, the parents made up for this by agreeing to help her find her biological mother. Soon after this, the parents revealed themselves to be total idiots (one of the complaints I had about the film), as they decided to tell this very young girl the truth about her parentage AND tell it in a way that left the girl emotionally screwed up and confused. Somehow or another, she had been adopted and was talking about her life with mom and dad #2-though she did NOT realize these people were not her biological parents. None of this seems that interesting or important and you wonder what is missing-what about the lady who was about to give birth? My wife and I debated this and we finally guessed that this little girl was actually the child of the lady in the first part of the film. You see her in her home and she talks to the camera about her life and family. The entire focus of the film then changes completely-to a young girl who is about to turn 9 in Madras, India. At a refugee center, you see the lady about to give birth-after which the titles to the film finally are revealed. Months later, the wife is very pregnant and on board a refugee vessel heading to India. At the beginning, a young couple is married and shortly after the wedding, war breaks out in their native Sri Lanka and the lovers are separated. The context for what was occurring was missing and I am glad I stuck with it. At first, I found myself losing interest in this film because the rather confusing style of filming really lost me. Oddly, it was 137 minutes long-slightly longer than the time listed on IMDb.
In parting, Mani Ratnam has taken a bold stance at this issue, which he has earlier only hinted at.Last night, I saw A PECK ON THE CHEEK (KANNATHIL MUTHAMITTAL with English subtitles). Madhavan lives the character of the writer he portrays, shedding off the Maddy image he has so often conveyed.
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. Mani Ratnam seems to have drawn out the best from Simran, who has been shying away from glamorous roles for a while now. 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.Ī 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. 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. Whether it is being peeved with her parents or while bullying her brothers, Keerthana is a wonderful performer. The girl (Keerthana, daughter of Parthipan and Seetha) grows up in a foster home - in the Madhavan-Simran household, with two younger brothers for company. After she gives birth in the refugee camp, she leaves for her native land and her husband - but without her daughter. Midway, she learns that her husband is wounded and wants to return. She survives many hazards in the journey, captured brilliantly by cinematographer Ravi K Chandran.
As the husband (Chakravarty) leaves for the rebellion, the pregnant wife (Nandita Das) is forced to go to India, risking the armies of both countries. Though the issue has been tackled in a couple of recent Tamil films, Ratnam's Kannathil Muthamittal is way ahead.Īn honestly told tale without frills, the film starts with a wedding taking place in the Tamil parts of Sri Lanka. Tamil film Kannathil Muthamittal does not have any Humma humma or Chhaiya chhaiya or old dancing women. This time, too, with the seething Sri Lankan problem as backdrop, he presents a sensitive story about a delicate flower caught in a storm. Mani Ratnam's forte is to make films on burning issues. , Movies: The Rediff review: Kannathil Muthamittal
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