| Published on 01-09-2007 In Entertainment |
| Viewed 3261 times |
| Ammuvaghiya Naan: Worth a view |
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Written by
T. S. V. Hari |
Parker Bros' offering Ammuvaghiya Naan (A person called Ammu - me) – is an antithesis in the life of a commercial sex worker – when she reluctantly tries to return to the oldest profession to save her tempestuous married life!
Though Bharati has already been featured in a few movies earlier than this one, she is billed as a debutante and has been cast opposite veteran R Parthepan.
The whole thing is all about a fictional biography of a prostitute Ammu (Bharati) that eventually wins her loving husband Gauri Shanker (Parthepan) an award depicted as an equivalent to the coveted Jnanpith.
Ammu… starts with the sad spectacle of a woman in the throes of delivering a baby – which is soon sold to a woman who runs a house of ill-fame. The infant blossoms into a handsome maiden Ammu who doesn't mind being deflowered but finds the stench of Indian made foreign liquor objectionable when she is drenched by it by a dirty old man Nathan (Mahadevan). After inhabiting different beds with several men, Ammu finds out the meaning of the word "love" when a successful author begins a chain of "conversations" with her and soon ties the knot. The difficulties of a leading a "normal" life are found stifling by Ammu. In the process, she is even thrown out of her husband's house by an elder sister-in-law briefly. After a few tense moments during a simple climax, Ammu is completely transformed into a domesticated housewife.
Steamy interludes are used artistically in the movie sans the usual sleaze and exhibition of female cleavage.
On the flip side, there are other scenes that seem to grow out of the spine like the judge of a Sessions Court praising an accused (?) before pronouncing his verdict – which remains a mystery even after the credits begin their scroll before the lights come on for the final time.
Some loose ends in the screenplay like Nathan being pushed down the stairs for merely pouring alcohol over Ammu and being beaten up for it remain unexplained.
So are the hearings in the murder trial wherein the presiding officer does nothing more than adjourning after cursory hearings.
Yet, Ammu emerges as a flow of fresh air thanks to the under-use of bedroom scenes – a trait that will disappoint frontbenchers who would want to see the film purely for the sake of titillation because its theme - the life of a willing CSW.
Parthepan and Bharati have an easy, comfortable presence on the screen and vibe with each other well.
There are no frills in Padma Magan's direction. The frames of MS Prabhu with the camera have come out well. Editor Suresh Urs hasn't been taxed at all and the scenes merge into one another seamlessly through his snips.
S Surulirajan's dialogues are funny without the double entendre that is associated with actors like Parthepan.
In the final analysis, one comes out of the cinema wondering as to what exactly Magan wanted to convey through Ammu…
But, one can heave a sigh of relief that some convoluted logic and/or platitudes are conspicuous by their absence. |
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