Adapting a novel into the visual medium is no easy task, especially when the book concerned is a hard-hitting novel that won the Sahithya Academy Award for its stark and realistic portrayal of human lives. But director Vasanth, always known for subtle touches, seems to have achieved the impossible -- converting Sa Kandhasami's Tamil novel Visaranai Commission (Enquiry Commission) into a hard-hitting short film, and making a success out of it.
The best part of this short film, produced by Doordarshan with a runtime of 67 minutes, is its superb cast; they've lived their lives in front of the camera, and it can't get any better than that.
As you watch Thangarasu (Theni Murugan), a bus-conductor going about his life; his wife Rukmani (Lakshmi), a school-teacher who's suffering from some sort of throat ailment, take in their slightly dilapidated home (courtesy the excellent art work of MM Durai Vaasan), you can't but help get immersed into their lives.
Thangarasu and Rukmini are the epitome of every middle-aged citizen living their lives; they're committed, go through everyday issues like running-water problems and money issues. They have no children, and life isn't always a bed of roses but so far, nothing much has gone wrong until the fateful day Thangarasu leaves for work, when a procession is due to happen.
The narrative moves back and forth between past and present, even as Thangarasu walks slowly to work: his childhood, when an irate father tries to teach him football, ordinary school years, running from pillar to post and settling into a job as a bus-conductor, and then marriage to Rukmini -- happy, for all intents and purposes.
And then there's Rukmini's life as well: it seems like temptation comes to her at several points but she's loyal to her husband. It's a dignified, pleasing portrayal, and you watch mesmerized as she makes the transformation from the new wife to her husband's only support.
Thangarasu's life as a conductor is humdrum; problems crop up at times; co-workers stir up a mess, but he's always quick to pour oil over troubled waters. But the climax is like a blow, and you recognise the irony in the situation that finally befalls him.
Both Vasanth and Sa Kandhasami have pitched in with dialogues that are rendered even more natural by the cast, which delivers with a finesse that's a joy to watch. Vasanth's expert handling of the script shows the amount of work gone into it and his minute understanding of the subject.
S Sathish's editing is neat; the only weak point, if any, is Padma Shankar's music which gives an undeniably documentary-like feel with its over-done usage of classical violin segments, the kind that used to belong to news reels in olden times. More contemporary music, you feel, would have suited this particular work. But these are minor glitches, in an otherwise hard-hitting piece of reality, beautifully crafted. A must-watch.
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