I was excited by the prospect of this film but I hadn’t attempted to read much about it before the screening. Mani Ratnam is acknowledged as one of the innovators of popular Indian cinema, helping to transform Tamil cinema in the 1980s and early 1990s and then moving into Hindi films or dual language versions of the same script. His last (Tamil) film was not released in the UK and his recent films made in Hindi or both Hindi and Tamil did not really work as well as his earlier purely Tamil films. I was delighted then to recognise quite quickly that OK Kanmani is in many ways an updated version of one of my favourite Ratnam Tamil films, Alaipayuthey (2001). I read later that Ratnam deliberately opted for the update to explore what he saw as changes in attitudes towards marriage in India.
In Alaipayuthey the young man is a recently graduated software engineer setting up a new company with classmates. He comes from a wealthy family but at a friend’s wedding he meets a young woman, a medical student from a middle-class family. Their parents refuse permission to marry because of the class difference so they marry secretly and inevitably things go wrong before a happy ending to what is a romance/family melodrama set in Chennai. In OK Kanmani, the young man Adi is a talented computer games designer who arrives in Mumbai from Chennai to work on a new job with friends from the Tamil community. He meets Thara, an architectural ‘intern’ living in a ladies’ hostel. Again they meet at a wedding (a Christian Tamil wedding). The class positions this time are reversed, Adi is middle-class, Thara comes from a very wealthy family in Coimbatore (the rapidly developing second city of Tamil Nadu). Though they are clearly very much in love, neither wants to marry yet. Since both are away from home they are able to consummate their relationship outside marriage without their parents’ knowledge. They must then decide if they want a ‘live-in’ relationship and not a secret marriage. This is the big change between the two films.
As well as this central relationship, Ratnam offers us a long-term marriage, possibly as a comparison or ‘test’ for the younger lovers. Adi is lucky that he is able to rent a room in the spacious house of his brother’s ex-boss, the retired banker Ganapathay. The banker has retired to look after his wife Bhavani, a former singing star of Carnatic music who has developed early stage Alzheimer’s. If Adi and Thara are going to live together in Ganapathay’s house they need to persuade the couple. Inevitably though it is going to be difficult to prevent Adi’s brother and sister-in-law from discovering what is happening. As one comment I read pointed out the brother’s marriage is conventional for the 1990s, thus Mani Ratnam can present three relationships across the decades when the brother and his family make a surprise visit. Adi and Thara’s relationship is contingent on their separate career ambitions. In particular she wants to go to Paris to study further and he knows his talent can take him to North America. How will the relationship survive these potentially conflicting ambitions? Neither wants to marry but marriage is a convention of Indian film narratives as well as Indian society generally.
In ‘updating’ the earlier story Mani Ratnam has made some interesting decisions. He’s returned to work with cinematographer P. C. Sreeram who lensed Alaipayuthey and earlier Ratnam classics with long-term collaborator film editor A. Sreekar Prasad. Also, I understand that the film uses a great deal of live sound – it was certainly noticeable that the dialogue seemed both more spontaneous and more ‘natural’ than the booming dialogue of mainstream Indian cinema. Reading round the film I also discovered that much of what was meant to be Mumbai was actually Chennai. Ahmedabad is one of the cities visited by Thara for its architectural qualities. but it also provided more generic locations. So, Mumbai here is less a city of tourist sites and more a generic urban space excitingly filmed. To add to this sense of the ‘urban’, Ratnam starts the film with a sequence from a videogame. Later we will realise that this is ‘Mumbai 2.0’ the game (presumably in a ‘Grand Theft Auto’ style?) that Adi is developing. Further game sequences including an animated sequence feature later in the film. The music is by maestro A. R. Rahman. I enjoyed the soundtrack in the film but nothing stood out immediately. I’m now listening to the tracks on YouTube and getting more into them. In the clip below (sung by Karthik and Shashaa Tirupati) the lovers are together in a lodge in Ahmedebad – one of the few scenes that aren’t primarily ‘realist’. The song begins with Adi using music software on his iPad and a Bluetooth speaker. This is one of many examples of modern phone and computer technology woven into the narrative.
The film succeeds for me mainly because of the cast. Dulquer Salmaan (Adi), younger son of Malayalam cinema icon Mammootty, is very good with his rather annoying and cocky manner which is easily dealt with by Nitya Menen as Thara. The two work very well together and I found Nitya Menen delightful as an intelligent young woman who is very attractive but not a Bollywood fantasy woman. This couple is matched by veteran Prakash Raj as Ganapathay and Leela Samson as Bhavani. Leela Samson is a highly experienced dancer but this is her first film feature. She steals many of her scenes. Ratnam’s skill is to use her character’s Alzheimer’s in such a way that we realise its serious implications yet she can also be the deflater of serious moments. I won’t spoil the narrative but I agree with those commentators who see the older couple’s intense love as an important element of the film.
At this point it seems that OK Kanmani is a big hit with the public in South India and abroad in North America. There isn’t a Hindi version but a Telugu version was released at the same time as the Tamil. Nitya Menen has appeared in earlier Telugu films. Some of the younger critics in India and especially those most interested in the new ‘independent’ Indian cinema have criticised OK Kanmani for its lack of adventure in its depiction of the city and for its weak ending. I’ll agree with this last point, the narrative ‘resolution’ was a disappointment for me but that doesn’t negate the sheer pleasure I got from most of the film. This is a mainstream romance and most audiences will thoroughly enjoy it on that basis. My faith in Mani Ratnam remains.