'Ponman' movie review: A gripping tale of unyielding resilience forged in gold

Ponman unravels a tense pursuit of gold, laced with humour and deep-rooted emotions, exposing the dark side of the dowry system from a different vantage point with brilliant performances
A still from 'Ponman' movie
A still from 'Ponman' movie
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5 min read

There’s a saying in Kollam. Don’t raise a dog hoping for someone else’s sh**. It’s meant for men like you.” These words, uttered by PP Ajesh (Basil Joseph) in a heated confrontation with Mariyano (Sajin Gopu), encapsulate Ponman—a sharp critique of the dowry system.

But unlike most films on this subject, Ponman does something fresh. It doesn’t merely focus on the suffering bride or the exploitative groom’s family. Instead, it follows a gold loan agent—a man who ensures weddings happen, not out of charity but as a business. And when that business turns into a nightmare, the film morphs into a well-staged thriller, making it an exhilarating affair.

Adapted from GR Indugopan’s novel Naalanchu Cheruppakkar, Ponman is a rare case where the film outshines the book, especially in its climactic stretches. While the novel mainly revolves around Ajesh’s tense battle with Mariyano, the film elevates the newlywed bride Steffy (Lijomol Jose) into a fully realised character with more agency in the story. That said, some stellar portions from the book—particularly around Steffy’s mother, Agnes (Sandhya Rajendran)—don’t make it to the screen. But these are minor quibbles in an otherwise remarkable adaptation.

Ponman is also a portrait of Kollam. Much like how Maheshinte Prathikaaram captured the soul of Idukki or how Jaya Jaya Jaya Jaya Hey (JJJJH) made great use of its setting, Ponman weaves Kollam and its surroundings into the fabric of its narrative. The film opens with an impressive montage of the region’s backwaters and shores, setting the mood for a tense and grounded narrative with a song dedicated to showcase Kollam’s landmarks.

Jothish Shankar makes an impressive transition from a seasoned production designer to a full-fledged filmmaker with his directorial debut, showcasing a strong visual sensibility and an assured grasp of storytelling. Having crafted immersive worlds in his previous production design ventures, his ability to translate that expertise into directing is evident in the film’s atmosphere, detailing, and lived-in settings. Instead of excessive dramatisation, he leans into subtlety, trusting the strength of his screenplay and actors. This is particularly evident in how he reimagines certain aspects of the book.

Terrence Bruno (Anand Manmadhan), a staunch communist party worker, gets into trouble after attacking the local church’s sexton. When his party abandons him, he finds himself struggling to arrange 25 sovereigns of gold for his sister Steffy’s wedding. Enter Ajesh, a man who lends gold to families with the agreement that they’ll either pay him back for the gold from the donations received or return the unpaid ornaments.

But things don’t go as planned, and Ajesh finds himself chasing after what’s rightfully his. What starts as a simple business transaction quickly spirals into something much bigger. Ajesh, someone who initially sees dowry transactions as just another deal, is now forced to confront the ugly realities of the system when the stakes become deeply personal.

The film also subtly explores the idea of God and fate in key moments. When Ajesh finally sets out to reclaim his gold from Mariyano, we see Sharma (Deepak Parambol), an actor in a local drama troupe, dressed as Jesus, tied on the cross. As the scene unfolds, Ajesh remarks that he can fend for himself, implying that a man must rely on his own willpower rather than divine intervention.

In another moment, Bruno, whose ideological rigidity has left him rudderless, sees or imagines divinity around Sharma, the man who helps him find meaning in his life.

It’s difficult to imagine Basil Joseph as someone who means business ruthlessly, even though he has played quirky baddies in JJJJH and Sookshmadarshini. Audiences are used to seeing him in endearing and goofy roles. But here, Basil undergoes a complete transformation. His Ajesh is relentless, pragmatic, and willing to go to any extent to uphold his word. There’s a moment where Ajesh delivers a fiery monologue to Bruno, calling out his self-pity and misplaced righteousness. With close-up shots capturing every ounce of his frustration and determination, this is undoubtedly Basil’s finest moment as an actor.

Lijomol Jose as Steffy Graf is nothing short of spectacular. The film allows her to evolve from a seemingly helpless bride to someone who takes charge of her own fate. There’s a brilliant scene where she turns on Bruno, laying bare his failures as a brother; Lijomol delivers it with a raw intensity that’s hard to ignore. The slight tremble in her voice when standing up to Ajesh is also praiseworthy. What’s striking about her chemistry with Basil is its subtlety: the unspoken words in a glance, the weight of a simple conversation.

Sajin Gopu, as Mariyano, is menacingly terrific. His body language and sheer physicality make him an intimidating presence, perfectly fitting the build-up given to his character as this ‘mala poleyoru raakshsan’ (a demon like a mountain). Anand Manmadhan delivers a breakout performance as Terrence Bruno, a deeply flawed yet sympathetic figure. Anand effectively portrays his frustration and helplessness, particularly in scenes where his ideology clashes with reality. Deepak Parambol (as Sharma) and Sandhya Rajendran (as Agnes) also deliver commendable performances.

At its heart, Ponman is also about perseverance—Ajesh’s relentless quest to retrieve what’s his, Steffy’s struggle to secure a future for herself, and Bruno’s gradual realisation of his shortcomings. Ajesh’s resilience is best encapsulated in a moment where he dismisses the notion that dowry is a necessity for a man’s survival. “A hardworking or genuine man doesn’t need to depend on dowry to make his ends meet,” he tells Mariyano in a confrontation that feels like the film’s mission statement.

The screenplay by Indugopan and Justin Mathew ensures that the tension never dips. Every time you think Ajesh has found a way out, another obstacle arises, making for a gripping watch. The cinematography by Sanu John Varghese is immersive, capturing the beauty of Kollam’s landscapes while ensuring that the camera never feels intrusive.

The aerial shots of Thalavettichira, the island village where the film mainly unfolds, are particularly outstanding. Justin Varghese’s music subtly enhances the film’s narrative without ever overpowering it. The standout track, ‘Paka’, sung by KS Chithra, is beautifully placed after a crucial confrontation. The sound design is also remarkable, subtly enriching the atmosphere and urgency.

While the novel’s climax is primarily focussed on Ajesh outsmarting Mariyano, Ponman expands this moment to include Steffy in a major way, making it all the more impactful. The film doesn’t go for an over-the-top resolution, yet it delivers the apt cinematic high, making the conclusion both satisfying and thought-provoking. Also, Ajesh, a man of his word, will stay with you long after the credits roll.

Film: 'Ponman'

Director: Jothish Shankar

Cast: Basil Joseph, Lijomol Jose, Sajin Gopu, Anand Manmadhan, Deepak Parambol, Sandhya Rajendran

Rating : 4/5

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