Karthik Muthukumar, who is the Director of Photography, is a master at work. There are plenty of attention-grabbing shots at the seashore.
(Screened at Regional Film Festival 2019, Goethe-Institut / Max Mueller Bhavan, New Delhi)
Singaram (Mysskin) says that mother sea, who has taken away life, will give something in return when she has calmed down. He is a local fisherman and is referring to the Tsunami that once took away many lives in his village (including his loved ones). He is living with his niece, Anandhi (Preeti Karan), and a young nephew. He believes that one day he will be able to cross the sea. Singaram is hoping his current situation will get better. Being a strong patriarch, he’s earnestly trying to find the right match for his nephew. Kattumaram (Catamaran), directed by Swarnavel Eswaran, is a metaphorical title that is remarkable for its deeply ingrained meanings. In this, there is always a belief that good-heartedness and good times will prevail and difficult times will be long gone by. Like Singaram, the film empathises with the LGBTQ+ community.
Singaram has different shades of character. And Mysskin is so good to bring out all of them with perfect aplomb. Although Singaram is a patriarch, he is also benevolent, caring, loving, understanding and supportive. (He offers money to someone showing utmost care in his countenance or even scolds a man for abusing a woman and thinking her as someone of a questionable character). Anandhi is a school teacher. (Preeti Karan’s voice is so beautiful and you can’t get enough of Anandhi dictating a lesson to the students). As Kavita (Anusha Prabhu), a photographer, enters the frame, the story takes a different shape and acquaints you with the blossoming romance between her and Anandhi. Whether it’s a romantic moment or an emotional sequence, P. Bharani Dharan’s melodious and captivating background score accentuates the feelings associated with the scenes to a whole new level (Can remind one of the legendary composer Isaignani Ilaiyaraja).
Easwaran is interested in intelligently bringing out the lesbian connection in the film. The school’s name, where Anandhi works, is Vaanavil (which means Rainbow in Tamil). You see the school board out on the street with its name and those seven colours. (Is it to signify the Rainbow Pride Flag?). Easwaran is not trying to show you the sexual relationship between lesbians. He wants to delineate that it’s deeper and meaningful. (Kavita emotionally talks about her past and her ex-lesbian partner’s ill fate). Moreover, the film is set in a village where one’s sexual orientation is strictly judged by certain prejudices. Being caught as a lesbian would draw furious reactions from every corner of the village.
Karthik Muthukumar, who is the Director of Photography, is a master at work. There are plenty of attention-grabbing shots at the seashore. The locked-down shots, for instance, are mesmerising. (While the stationary camera is gazing at the tides by the seashore, the film depicts a family in high spirits at one instant and in immense anger in another. In a different scene, a flickering light approaches towards the camera while the surrounding is engulfed by darkness. As the light comes closer to the camera, a transwoman is revealed.) A long shot shows a man’s dilemma and his empathy for a widow. There’s also a medium shot which shows peacefulness and merriment. (You see Anandhi sitting on a wooden plank by the seashore, a cool breeze touching her cheeks and the top layer of sand moving with the wind). In a closeup, the camera closely captures a crab moving through the sand while, in the distance, men are playing a Kabaddi match at the night time and a bright yellow light is streaming from a street bulb. Even a combination of a long shot and a closeup works big time. (You get a longshot where pretty looking Anandhi, who is all dressed up, is standing by the seashore. And then, in the closeup, Anandhi turns behind, with the hair falling all over her face due to the blowing wind.)
Several other instances invoke tranquillity. A long shot, with the camera placed near the field, shows Anandhi riding her bicycle in the distance. Or, you see the camera focussing at two coconut trees against the blue sky.
Amidst the serious tone of the film, the film does have chucklesome instances. A family indignantly walking off and hurling abuses at Anandhi for rejecting their son seem funny. Singaram threatening a police officer for molesting Anandhi is both stylish and humorous.
The film does have no sexual activity related to a lesbian relationship. But it shows glimpses of different people deriving sexual pleasures in different ways. You see a transwoman involved in oral sex. You also see religious woman, alone at home, is seduced by a man for sex. In a way, the film resorts to represent a slice of life. A boy and a girl meeting each other, getting married, leading a happy life to get the approbation of the everyone else is considered to be a norm by many. But when someone doesn’t end up leading a similar life, is questioned, thrashed and even ostracised.