Competing with himself
THE NARRATIVE FALTERS: Poi
The greatest challenge K. Balachander faces today is from himself. If the vast body of the filmmaker's past works stand testimony to the story spinning skills and narrative talent of an ace writer-director, the present clearly shows the master, losing grip. Duet Movies' `Poi' (U) is an example. Not that KB's intelligent interpolations, distinct individuality of each character and his astute nuances, are missing. `Poi' that comes with his story, screenplay and direction, has them all in appreciable measure. But these can only be value additions in a refreshing storyline and an absorbing screenplay — areas where the film falters. Some of the scenes evoke nostalgia, because they remind you of the classic KB films made some decades ago.
`A sweet little lie' says the misleading slug, because `Poi' is not `sweet' or `little' throughout, culminating as it does in a huge, tragic goof-up. Incidentally, the `U' certification is fully deserved. Nowhere in the film do you find a scene meandering into `A' territory.
Prakashraj could have stopped with being `Poi's producer. He personifies Destiny — a totally unwarranted character. So it is with Balachander, who plays the imaginary father (!) of hero, Kamban (Udaykiran). (KB's role is a reminder of Natarajan's part in `Moondru Mudichchu.') The Dad-Destiny exchanges only protract `Poi's proceedings. Short-tempered and jobless, Kamban leaves for Sri Lanka because of the inimicality between himself and his father Valluvan (Avinash), a straightforward politician. Theepori, the fictitious father image that Kamban creates, suggests falling in love as a solution (!) to his woes. Kamban meets Shilpa (Vimala) and from then on it is a string of lies all over again.
Udaykiran is full of energy. Expressive eyes and sprightly footwork are his pluses.
Vimala, who resembles the young Banupriya, is natural and effective, particularly in the emotional sequences. A slimmed-down Geetu Mohandas looks cute but has little to do, while Renuka bears the stamp of a KB product. With typical modulation and humour, she impresses.
It is a worthy character role for Avinash, who is generally seen in the wings, and the actor proves his potential. Anuradha Krishnamurthy's expressions have improved a lot since her `Sahana' days.
Exotic locations
SPB's `La la' (with stress on the Tamil syllable) is a pleasing refrain and so is the soothing title music that melds with the exotic milieu in the background. It's Vidyasagar again! Kasi Viswanathan's scissoring wraps up matters quite abruptly sometimes. Arguably, none has captured the vibrant colours and the luminous waters of Sri Lanka as exquisitely as Biju Viswanath. A panoramic delight!
Thamira's dialogue could have been pruned — there's too much of talking going on in `Poi.'
Let's face it. The Romeo-Juliet genre is now obsolete. So, gone are the `Marocharitra' days — in a mutating society, few find the time or need to die for love. If only KB could get out of the time warp!
MALATHI RANGARAJAN
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