Pa Paandi review: Director Dhanush proves mettle with this gentle yet eye-opening film

Dhanush proves his mettle as a director with this gentle yet eye-opening film called Pa Paandi. The film begins with a day in the life of Power Paandi (Rajkiran), a famous stuntman from the film industry who has hung up his boots and is spending his retired life in the company of his son Raghavan (Prasanna), daughter-in-law Prema (Chaya Singh) and grandchildren Dhruv (Master Raghav) and Chhavi (Baby Sakshi).

To his family, neighbours and pretty much society at large, the life that Paandi leads is perfect. His son is well settled and holds a senior position in a big firm. He takes care of all of Paandi’s needs and has even given Paandi his own room in his home. His daughter-in-law is a considerate, caring person. His grandchildren love him more than they love their parents. A senior citizen can scarcely wish for anything more. In fact, Paandi himself believes his life is perfect.

However, despite his silent reassurance to himself, Paandi continues to experience an emptiness. That hollowness is accentuated by the occasional chidings he receives from his son, who, in his busy work schedule, finds some of his dad's daily activities annoying and troublesome.

After introspection, Paandi decides that his idleness is what is making him cause trouble, and takes up a job. His son, who wonders why Paandi needs to work at this age, agrees, since he believes it will make his father happy.

Life goes on in this fashion for some time until one day, Paandi, who is in the habit of questioning unlawful activities, chooses to take on a bunch of drug peddlers in the marketplace. The crooks keep taunting Paandi till he is forced to resort to violence. Result: they end up in hospital, and he ends up at the police station.

Raghavan is called to bail out his dad. He does bail him out but is enraged that the family’s honour has taken a battering because of his dad’s visit to the police station.

The conflict between dad and son soon escalates into a showdown. Paandi, after silently listening to his son’s complaints, gets drunk and returns to hit back. The morning after the showdown, there is an uneasy calm in the house and Paandi feels guilty for having caused trouble. Eventually, he writes a letter announcing his decision to leave home in search of solace and something that will fill the emptiness in his life.

Initially, Paandi is not sure where to go, but when he begins the journey on his bike, a suggestion from a fellow traveller sets him on the search for his first love. Poonthendral (Revathi) is a woman he was madly in love with when he was young. He traces her to Hyderabad. Does he manage to meet her? Does she remember him? Do his son and daughter-in-law find him again? The film traverses its path through these questions.

Dhanush needs to be lauded for this story that warms the cockles of your heart. Gently, yet firmly, it draws the attention of the audience to the problems faced by the elderly in today's society.

The film raises several interesting and valid questions on the perceptions held by society with regard to the institution of marriage. The film makes it clear that age cannot be a valid reason for preventing one from seeking companionship. For instance, when Poonthendral gently chides Paandi for asking her if he still has a place in her heart by suggesting that they are grandparents, Paandi asks, 'Our children are the centre of our world. But then, are we at the centre of their world?’

The issue the film chooses to highlight is not only important but also very sensitive. If the director had missed his mark by a small margin, he ran the risk of the film being distasteful. However, Dhanush seems to have hit bull’s eye and the film touches you with emotion and thought.

Pa Paandi scores on several counts. First, Dhanush gets full marks in both departments — direction and acting. As an actor, he brings to life the character of young Paandi. The flashback portions between Dhanush and Madonna Sebastian (who plays the young Poonthendral) are pleasant and enjoyable. Madonna is fast gaining a reputation for handling difficult characters with commendable ease.

Rajkiran shows what a class act he is. The veteran comes up with a brilliant performance to steal the hearts of the audience, and makes a profound impact as the aged stuntman fighting loneliness. The whole film rests on his character, and he does complete justice to the role.

Revathi appears for a brief period but excels as the mature, evolved Poonthendral.

Prasanna, whose hard work in the gym seems to be paying rich rewards, comes up with a commendable performance. His character is a difficult one. He does not play a bad son but someone who is unaware of his father’s needs. The role required exceptional control on the part of the artiste playing it, and Prasanna gets it spot on.

Chaya Singh is just adorable as the caring daughter-in-law. The letter Paandi writes before leaving home is predominantly addressed to his son. However, it ends with him addressing his daughter-in-law as his 'daughter' Prema, and gives her his blessings. That sequence beautifully captures the relationship between Paandi and Prema. Chaya Singh is elegance personified as the daughter-in-law all through the film.

The film’s biggest strength, apart from its story, is its music. Sean Roldan, a genius, changes the mood of the film in a jiffy with subtle changes in the background score. If one were to close one’s eyes and just listen to the background score, one would still be able to tell what was happening on screen. From action sequences to nostalgic moments to happy, romantic phases, joyous celebrations to comical sequences to sad, lump-in-the-throat moments, Sean captures each and every mood of the film with his background score, enhancing it appropriately and lifting the film to a different level.

Cinematographer Velraj, who is also a director, has done good work. On the whole, this film is a good entertainer and an interesting eye-opener.

Reviewed by Manigandan KR