Pirivom Sandhipom

When you read the title of the movie, gawk at the stills and star cast one gets the impression that it should be a plain vanilla love story painted on a college canvas with a romantic meeting and a poignant separation. Was this all or is there more to this movie? Title and stills can sometimes convey more than the movie. Read more to find out the real pirivu and sandhippu.

Pirivom Sandhippom is a story about a semi urban college educated girl, Visalakshi getting married into a big traditional family (20+ members). Her longing to stay surrounded with people in a big joint family set up was short-lived when her husband, Natesan gets transferred to a remote hill-top. Sudden separation and loneliness pushes her into depression and at the end when her husband learns her condition he brings her back to the big family. Now go back to line 3.

It is important to set the canvas and coordinates before building the story, but the director Karu. Palaniappan gets completely entangled educating people on Chettinadu customs and tradition. Director sir, do you know the difference between a movie and a documentary. May be you would have been more successful doing a documentary titled “Chettinadu 101” rather than calling it “Pirivom Sandhippom”.

If not for Vidyasagar’s seductive melodies and beauty of Chettinadu homes people would have left the theatres well before the intermission. Lyricist and cameraman also need to be included in the above list. Great locations and perfect shots was a definite treat for the concrete coated urbane eyes.

We were hoping that the battalion of actors will bring reprieve to the weak story line but for Pattabhi and Devadarshini there was no room for the rest to shine. Cheran’s character was the clichéd male character stuck to career and neglecting wife. He didn’t have much scope in the script except for his weird smirk and the brand value he brings. Sneha needs a special mention for her role transformation from a college butterfly to a love soaked family character and finally to a pupa enshrined in a solitary cocoon. Jayaram’s character in the movie was like the rain on a humid summer night, but it failed to quench the heat and thirst.

Predictable climax and lack of effervescence in the script makes the second half of the movie tiresome to watch. If this was a movie about mental depression then tamil film industry has seen brilliant movies with fizzy script like Badrakali, Agnisatchi and if it was a movie about joint family and preaching family values then Director Visu’s movies like Samsaram athu minsaram have set the unachievable standards. But this movie miserably failed to narrate the gravity of neither Eeremophobia nor family values.

The only consolation when you leave the theatres is Vidyasagar’s lilting melodies, camera angles and Sneha’s breathe taking beauty. Karu. Palaniappan needs to work on the Karu again.

Pirivom meendum Sandhippom…..