Kottukkaali: A Review of This Pioneering Film That Provokes Deep Reflection
Director PS Vinothraj skillfully presents characters that fulfill various roles within the narrative; however, the brilliance of the film resides in the fact that these characters do not appear as mere archetypes designed to achieve specific goals.
Still from 'Kottukkaali'
The memory of Meena's (Anna Ben) eyes will linger with me for a long time. Her gaze embodies defiance, staring into the void. When life and society render one powerless to fight or argue, all that remains is to gaze. However, Meena's gaze is not one of resignation; it penetrates through time and space, posing unspoken questions, even as she wields silence with remarkable strength. In this narrative of her apparent defeat, Meena experiences small victories. Her defiant gaze, her soft humming to a tune, her sipping from a bottle of water, and her steadfastness in a shared auto all signify her resistance. Though her beautiful face rarely smiles, these fleeting moments reveal the joy it can express. Regrettably, her society and family are unworthy of witnessing it. A fleeting glimpse of her gentle smile stands out as the film's most poignant moment for me. It is a smile of compassion directed at her younger brother, who appears overwhelmed by the surrounding violence. Meena's response is far from easy; in that moment, she could justifiably succumb to despair, yet she instead gathers her strength to shield him, if only for a few seconds. This profound sensitivity sets her apart from the rest of her family.
Director PS Vinothraj presents a cast of characters, each fulfilling distinct roles, yet the brilliance of the film lies in the fact that these individuals do not appear as mere archetypes designed to fulfill specific functions. Consider Meena’s brother, for instance—he remains entirely unaware of the unfolding events. His youth renders him incapable of comprehension, and his innocence keeps him from involvement. Nevertheless, one cannot help but observe that the menacing Pandi (Soori) may have once embodied the same innocence as this boy. Kottukkaali subtly prompts the audience to ponder the moment this child might have evolved into Pandi. Was it triggered by witnessing violence? Was it the moment he was instructed to conform to traditional notions of masculinity and control women? At what point did societal norms infiltrate his psyche? Furthermore, when we discuss the concept of the ‘system,’ we often overlook that it is fundamentally composed of individuals—rather than being an abstract, intangible force. Thus, the pressing question arises: who among us will dare to resist the coercion and cunning of the ‘system’? Kottukkaali provokes a multitude of such reflections. It marks a significant shift from conventional cinema, which often dictates our reactions through familiar tropes. Notably, this film eschews even the most overt manipulative device: music.
I appreciated the film for its deliberate absence of music. In a narrative centered on Meena's suffering, the inclusion of a musical score would have felt manipulative. Such an approach would have been an overt directorial tactic aimed at eliciting specific emotional responses. Instead, Kottukkaali gently guides the audience through the experiences of Pandi and Meena's family over several hours, allowing viewers to form their own emotional interpretations. Observe how the women in this household are deeply rooted in a patriarchal system. Note the irony in their care for Pandi, as they are visibly affected by the dust in his eye, yet remain oblivious to the anguish of one of their own. Take in the beauty of the rural scenery, the vibrant yellow-green vegetation, the relentless sun, and the presence of the ox and rooster, contemplating the potential metaphors they represent. The film's conclusion is particularly astute, posing a question: Having witnessed everything, what are your thoughts?
For those accustomed to the immediacy and fast pace of mainstream films, the artistry of Kottukkaali may seem more aligned with festival cinema. However, it would be a significant oversight to confine this impactful and poignant film to a category that is often overlooked. In truth, the craftsmanship of Kottukkaali stands as its own merit. The film's innovative use of cinematography is commendable, with Sakthivel consistently presenting us with unexpected perspectives and angles. The overhead shots evoke a sense of a deity's indifference, while the distant wide shots illustrate nature's apathy towards the struggles of these characters. I found myself torn between admiring the stunning Tamil countryside and resenting its indifference to such human suffering.
The performances transcend the typical notion of acting. Anna Ben delivers an outstanding portrayal, while Soori evokes a sense of terror—his character is one I have never despised in any of his previous roles. In this instance, however, there is no trace of the comedian he has been known to be. The initial scene where he loses his composure serves as a masterclass in horror storytelling. I cannot recall experiencing such profound horror or shock in any other horror film. To further emphasize the film's connection to the horror genre, it is worth noting that the characters believe Meena is possessed and requires an exorcism. This notion becomes even more unsettling as the dehumanization central to the film resonates deeply, particularly when one reflects on Meena’s stoic reaction to her suffering. Often, when we read about historical atrocities, we comfort ourselves with the belief that we would never permit such events to occur in our vicinity. Yet, if we were to step outside our sheltered lives, if we began to truly observe and listen, we might hear the muffled cries and silent lamentations. Kottukkaali instilled in me a sense of guilt for my relatively untroubled existence, reminding me of the struggles faced by countless individuals.
I appreciate how director PS Vinothraj has chosen to focus on a few hours in Meena’s life to narrate this story. Initially, we may not recognize it, but the film immerses us directly into what could be described as a crime scene. Pandi’s throat is marked with sunaambu, indicating that he has been rendered voiceless. His voice throughout the film serves as a haunting reminder of his violent nature. Concurrently, Meena is prepared for her fate, akin to a goat being led to slaughter. This imagery is echoed later when an actual goat is taken away for a feast. Coercion emerges as a recurring theme. In a sense, Meena’s parents appear to be victims of familial pressure. Upon reflection, one could argue that Pandi himself is also a product of his upbringing.
It is perhaps not unexpected that a film addressing profound human suffering also possesses sufficient tension to elicit humor. An ox obstructing a pathway in the fields can serve as a source of amusement. The grievances of two men lamenting their lack of success provide further comedic material. Additionally, a shared auto that struggles to start presents another humorous scenario (notably, even a shared auto requires some persuasion to function). However, I must admit that I felt an overwhelming sense of guilt when attempting to laugh—my enjoyment of these instances felt akin to committing an act of sacrilege, reminiscent of laughing at a funeral. In many respects, Kottukkaali evokes the atmosphere of a funeral being captured on film. A poignant illustration of this is the woman at the conclusion who is receiving treatment from a priest. How many lives are being suppressed in such a manner? How many individuals exist while feeling dead within? What actions will you take in response? To what extent does the spirit of Pandi reside within you?
🎬 Movie: The Adamant Girl: Kottukkaali
📅 Year: 2024
🔊 League: Tamil
🔅 IMDB: 7.0
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Written by: JD