IT'S an emotionally moving tale of unrequited love, and a son’s journey to get acquainted with his father’s past, that Cheran depicts with feeling and poignancy in 'Pokkisham'. It’s a lyrical treat that Cheran provides in the earlier part, after Mahesh the son (Aryan Rajesh) discovers his late father Lenin’s treasured memories, in the form of his letters and diary. We are taken on a flashback mode to the past decades, with brief returns to the present, briefly touching on Mahesh’s love life. It’s 1970, and we get to see Lenin (Lenin’s father was a communist and hence the name), a marine engineer working at the Calcutta port. Cheran’s detailed sketching here is commendable. Kudos to art director Vairabalan for re-capturing the ambience of the era and place, through its artifacts, the rupee notes, the post-office and the trams around then. Rajesh Yadav’s judicious lighting and impressive cinematography enhances the mood and feel. The ensemble cast of Ilavarasu and some Bengali actors from the small screen who play Lenin’s neighbours, provide a suitable back-up. The smattering of Bengali and Tamil, all contribute to the natural feel.
Lenin’s love saga begins, when he is on a trip south to spend time with his father, who was recuperating from a surgery at a hospital, meets Nadira there. Nadira’s ill mother was in the next bed. Their helping out each other’s parent, and their long conversations with each other, had brought Lenin and Nadira closer. And when Lenin left for Calcutta, it was with a warm feeling for the pretty, intelligent Muslim girl. Cheran has handled these scenes with finesse. It’s a sheer poetry as the duo exchange letters, and there is a natural blooming of friendship into love. But the course of love would not be a smooth one for them.
It’s towards the latter part where Lenin goes in search of Nadira to her place Nagore, that the script slackens, and turns a tad melodramatic. Cheran’s love for words is overdone here. A trimming of about thirty minutes would make the narration crisper. Cheran however gets his grip back, and it’s an eye-moistening finale, as Mahesh finally comes face to face with his dad’s past. As an actor Cheran has his limitations. But fortunately he etches his characters within these boundaries. And as Lenin he strikes a natural chord. Aryan Rajesh fits in suitably, actor Prasanna’s voice sitting well on him. One of the finest actresses down south, Padmapriya gives a dignified, restrained portrayal of Nadira. What is jarring is her cakey make-up in the closing scenes. Making one feel that Nadira’s face would crumble, if she gave way to her emotions!
The touch point of 'Pokkisham' is undoubtedly the Korean film The Classic. Which Imtiaz Ali too had taken inspiration from, for his 'Love Aaj Kal'. While Imtiaz focused on the parallel love-tracks, Cheran is more into the love-letters mode of the original version. But both being intelligent scenarists and makers, they know how exactly to change genders (it was more women-oriented in the Korean film), shift characters, and cleverly adapt a Korean ‘Classic’ to Indian nativity.
Amidst violence and overt glamour, inane comedy and fake heroism, it’s commendable that Cheran has resolutely struck his own unique track centered on human foibles, and relationships. Pokkisham is a classy, sensitively crafted work. At times journeying with Lenin through his love saga may necessitate some patience. But it is worth it.