In the climax of ‘Kottukkaali’, a poignant scene encapsulates the film’s emotional depth. Meena, played brilliantly by Anna Ben, sits quietly in an auto-rickshaw with tears pooling in her eyes but not spilling over; a silent yet powerful testament to her undying resilience. This moment exemplifies the rich, emotional tapestry woven by director PS Vinothraj in his second feature film, a triumph that surpasses his acclaimed debut, ‘Koozhangal’.
Comparable to ‘Koozhangal’, ‘Kottukkaali’ is a travel film of sorts, capturing the lives of a family caught in the turbulence of societal expectations and personal struggles. The narrative kicks off immediately, drawing viewers into an intense and rich storyline that unravels over time. The family, gearing up for what seems to be a short trip, meticulously prepares—filling water bottles, renting a scooter, and prepping an auto for a long haul. As the journey unfolds, it becomes evident that the trip is far from ordinary; it is a contentious mission to exorcise what they believe is a ‘spell’ cast on Meena by her unseen lover, hinted to be from an oppressed caste, thereby inciting the family’s ire, especially Pandi (a ferocious Soori) who is betrothed to Meena.
The film vividly depicts themes of deep-seated sexism and caste-based chauvinism, reminiscent of ‘Koozhangal’. However, ‘Kottukkaali’ is much more direct in delivering its message. Vinothraj’s genius lies in his command of cinematic language, comparable to peers like Pa Ranjith and Mari Selvaraj. His narrative prowess drives the story, evoking a spectrum of emotions that resonate profoundly with the audience. Illustrating this are metaphors, like the parallel drawn between the red rooster and the red dress-wearing Meena—both symbolizing a desire for freedom constrained by societal norms.
Unlike conventional narratives that provide clear-cut solutions, Vinothraj challenges viewers to piece together the message, leaving interpretations up to them. This depth is further elevated by his gratitude for Nature, evident throughout the film. Nature is not just a backdrop but an influencer, providing metaphors that enrich the storyline. In a particularly memorable sequence, a bull stubbornly blocks the road, only yielding when a girl coaxes it gently—an allegory for Meena’s own struggle against patriarchal oppression.
Vinothraj’s film dissects the familial dynamics and individual struggles of its characters. Each family member grapples with personal issues, from battling insect bites to dealing with absentee parents, yet their collective actions are brazenly authoritarian. This is humorously yet poignantly illustrated in a scene where men, in a display of brute force, manually lift an auto-rickshaw, symbolizing their disruptive nature.
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However, this masculine frailty reveals itself through moments of vulnerability. Men who become caricatures of control falter spectacularly in the face of mundane challenges—struggling to start an auto or rid themselves of a fly in the eye. In contrast, the women, whose voices are often suppressed, rise with pragmatic solutions, subtly challenging the male-dominated narrative. Yet, they too aren’t absolved; they participate in perpetuating regressive traditions, illustrating the cyclical nature of societal norms.
The film humorously critiques male egos, particularly with how nature thwarts their journey. One comedic highlight is a line crediting a man’s success to an incident where his father lost his trousers—an emblematic dig at fragile masculinities.
‘Kottukkaali’ shines through its technical excellence. The absence of a background score emphasizes the raw authenticity of the scenes, with the camera alternating between intimate close-ups and static shots. This technique immerses viewers, making them feel like silent observers within the family. The clever use of the ‘Othaiyadi Pathayila’ track, a throwback to another film produced by Sivakarthikeyan, adds a layer of familiar resonance for avid cinema-goers.
The formidable performances of Anna Ben and Soori are central to the film’s success. Their characters, heavy with past grievances and restless spirits, reflect Meena as ‘kottukkaali’—the stubborn one—and Pandi as the personification of anger. Anna’s portrayal of Meena, with minimal dialogue, speaks volumes about her character’s unwavering resolve. A small scene where she adjusts a loose ring encapsulates her resourcefulness. Soori, on the other hand, imbues Pandi with a volatile intensity that reverberates throughout the film.
Without grandiosity or didacticism, ‘Kottukkaali’ flawlessly portrays a day in the life of a dysfunctional family bound by rigid traditions. The open-ended conclusion might divide opinions but it serves as an invitation to the audience to envisage their endings, an artistic generosity that enriches the viewing experience. In an industry fraught with the so-called sophomore jinx, Vinothraj delivers a masterfully crafted and profoundly resonant second film, asserting his place as a filmmaker of immense promise and depth.
Now playing in theaters, ‘Kottukkaali’ is an exemplary piece of Tamil cinema that shouldn’t be missed.
