Peranbu Review By Praveena | Mammootty, Sadhana, Ram, Yuvan, Anajli | Peranbu Review Tamil
Peranbu Review By Praveena | Mammootty, Sadhana, Ram, Yuvan
Shankar Raja, Anajli| Peranbu Review in Tamil
#Peranbu #PeranbuReview #Mammootty
A few minutes into Peranbu, you realise there is much more
to the story of a single father Amudhavan (Mammootty), whose whole world is his
daughter Paapa (Sadhana). Paapa isn’t your normal teenager. She has cerebral
palsy, and is, in fact, too afraid to even let her father close. Ram, as a
director, has an easy way of slipping in the details and takes you through the
emotions of each character step by step.
In a series of shots, he establishes the relationship
between an emotional father, who still tries to understand his daughter.
Amudhavan is very caring, but Paapa doesn’t get all that. She is just scared.
She doesn’t eat when Amudhavan is next to her. She often
locks herself inside the room and is away from his sight. It doesn’t look like
a breezy father-daughter relationship we usually see in films — at least in the
beginning. She doesn’t know how to behave. She throws tantrums. She freaks out,
uncontrolled.
Amudhavan does everything possible to make his daughter feel
comfortable, but nothing really works. After they move into a tastefully-done
house made of wood, things slowly change. Paapa starts trusting her father.
They bond over nature, birds and a white horse. Though the film is set amidst
scenic visuals of lakes and fog, you see Paapa in a closed room — behind the
grilled windows, and you know why.
Peranbu is divided into more than 10 chapters and each one
describes a phase of the father-daughter relationship, drawing parallels
between life and nature. Some of the chapters are titled — ‘nature is brutal’,
‘nature is love’, ‘nature is full of surprises’, ‘nature is unpredictable’,
‘nature is ever-evolving’ and so on.
Nature is also a character, the driving force and that’s how
Ram contextualises the film that adds more heft to it. Peranbu discusses one of
the most sensitive things and an under-explored theme in films — female
sexuality of a girl affected by cerebral palsy, and how as a parent, one learns
to cope with society. Amudhavan doesn’t complain, not even once. Instead, he
realises how gifted he is to take care of his daughter, who is a spastic child.
He knows she gets wild over the smallest things. Talk about the frustrations of
being not fully understood. Sigh. Anger is pretty much a part of their expression
because the differently-abled can’t easily camouflage their feelings.
You are introduced to Viji (Anjali), a caretaker who walks
into Amudhavan’s life. Paapa notices the nail polish, and instantly likes Viji.
Amudhavan is relieved because he thinks Paapa is in safe hands.
Amudhavan isn’t one of Ram’s regular protagonists. He is not
an angry man like Prabhakar (Jiiva) in Kattradhu Thamizh or Prabhunath (Vasanth
Ravi) in Taramani. Amudhavan doesn’t loathe his wife even though she left him.
He thinks she must have had her own reasons doing so. Again, he meets a
transgender sex-worker Meera (Anjali Ameer) and doesn’t judge her. He goes to
Meera’s house for courtesy when she calls him. You can’t underestimate Meera.
She has an unquenchable fighting spirit. You will know what I’m talking about
when you watch the film.
Amudhavan is portrayed as a selfless man, who loves his
daughter so much that he doesn’t mind help her change sanitary napkins when she
is on her period. On the other hand, he is yet to come to terms with his
child-like daughter, who struggles not knowing how to deal with sexual desires.
He couldn’t believe his daughter is no more a ‘Paapa’.
Mammootty as a confused parent, Amudhavan, is his most
natural self. It is amazing how a Superstar of his stature quickly sheds the
glitz when given a challenging script. Sadhana tugs at your heartstrings as
Paapa as she delivers her role with great aplomb. Her innocent face haunts you
long after the film is over. How Meera becomes a part of Amudhavan’s life has been
told poignantly, and it’s one of the brilliant climaxes ever written in the
history of Tamil cinema.
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