Jul 13, 2006 04:11 PM
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After a long time, Bhagyaraj has come out not only to give a refreshing experience but also to rescue us from the gangster-trodden trend. Parijaatham proves once again that he is an evergreen master in screenplay with a meaningful plot and narration.
Seetha moves to her new house to set it up before her husband (Prakashraj) and son (Prithiviraj) settle in. She finds the good-mannered housekeeper (Saranya), who matches every criterion to be her daughter-in-law. Seetha asks her husband and son at once to come over to see her would-be daughter-in-law (she doesn’t mention who it is) but, in an accident, Seetha dies before their arrival. How did the father and son identify the bride chosen by Seetha and what happens to Saranya are breezily narrated as rest of the story.
I weigh Bhagyaraj (and Visu) movies in a different scale altogether as they have some clear cut specifications. They have no delusions of being real. The viewers will time and again be reminded that it’s a movie and not reality. They resemble stage drama but still manage not to insult our intelligence. Parijaatham too has the trademark dramatics like characters overhearing others to find a truth, too much speaking etc, but they are kept minimal to our enjoyment. It’s a hair-thin story but narration and screenplay holds viewers attention successfully.
It’s a pleasure watching a crafty screenplay and that to from Bhagyaraj. Parijatham has an exotic and cheerful story within story, which is used as filler for first half but you won’t find or complain it till the end credits roll. The way Seetha visualizes protagonists as Prithiviraj and Saranya is a clever and refreshing approach. It’s the best time for Bhagyaraja to concentrate more on direction and bring out some enthralling ventures for mindlessmoviephobicpeople like me.
“Unnai Kandene” song is utterly mesmerizing in picturing that even makes Shankar (who is well known for song picturing) envious. I was delighted to see no fast-cuts (to which I am allergic of) in this song. Upcoming (and many existing) directors should learn from this on how to use technology sensibly.
But, as far as the rest of the movie is concerned, I feel that Bhagyaraj should have opted for visual narration rather than too much speaking by the characters, which gives us a feeling that we are watching a decade old movie.
All characters do their role perfectly while Prithiviraj’s histrionics (in the story within story) reminds us of Bhagyaraj. But, this is well support by an inherent comedy that makes us forgive the attempt. Bhagyaraj, too dons a out-of-the-sky role which is as expected.
Contrivances (which are few) are mostly found in the ending. Characters change their minds quickly even at the verge of getting married is something unacceptable but apparent in almost all love stories. This is weekly supported by a stunt that Bhagyaraj has convinced everyone (except Prithiviraj and Prakashraj) on stopping the marriage But, having seen movies with full of contradiction and clichés, these miniscule setbacks could be safely put aside for the sake of brilliant screenplay.
Parijatham, is a free flowing narration and a welcome relief especially at this time of the year. Though it may have heavy essence of dramatics (as in any Bhagyaraj movie) it is definitely a flower with fragrance.
