Form is temporary, Mani Ratnam is permanent- Thoughts on OK Kanmani

(NOTE: THE POST CONTAINS SPOILERS! READ AFTER WATCHING THE MOVIE)

If Alaipayuthey is filter coffee, OK Kanmani is like Long Island iced-tea. The former focused on a guy falling in love with a girl and is a take on the insecurities, dynamics related to the institution of marriage and the necessity of love to sustain it. OK Kanmani deals with two people trying to learn together and figure out what's the middle path between love and individual ambition. 

Mani Ratnam is the greatest non-conformist story teller we've seen. He clearly knows the difference between being superficial and creating something artificial and that's probably why he is one of the finest film makers who has transcended generations. As a friend said, the superficial nature of OKK's story was also a conscious attempt at imitation. A real couple these days is at times, that superficial- they go with the flow. 

It feels good to watch an unflinching urban flick completely catering to the city slickers. No aruva, kaththi, kabada etc. The biggest strength of any film made by seasoned pros is the rules they set or (appear to set). It's up to the director to define the rules /setting and whether to stick by them or subvert/ break them completely. 

The film completely justified the title- OK, Kanmani. OK- not even Okay- is a multipurpose word. It highlights agreement. It describes how one feels (when some asks "How are you?", the most obvious response would be "I'm ok"). It is probably the most commonly used word to not prolong a conversation that one has been a part of (I don't want to waste time talking about this, say Ok and walk away. I don't agree with you nor do I have the patience to discuss further- say Ok and walk away) This attitude more or less defines our generation. To hint at the genre, he adds another simple yet magical word to it - Kanmani. OK Kanmani fit the mood perfectly.

The whole film is a huge tease- we find ourselves in a situation, where Mani Ratnam wants us to invest in a character but he also holds us back from doing so. It's a conscious decision to avoid that judgmental tone. Whatever tone he implemented is consistent. At the same time, he also reminds that, it's okay if the audience cannot relate to the characters. Adithya Varadarajan (Dulquer) is a middle class guy with looks that would make any girl go weak on her knees. Tara Kalaingarayar (Nitya Menen is the human equivalent of gulab jamun in a syrup that contains Nutella and the essence of Qurbani ka meeta) despite her affluent background, is not your size-zero, fashion obsessed uptight sassy heroine. The two main protagonists have their first conversation in a hush-hush tone at a wedding and start talking over phone (hint: urgency and disregard for etiquette) while the betrothed couple exchange vows. Before they exchange rings, Adhi and Tara have exchanged numbers and listed the cons of commitment and marriage. The sense of urgency is a bang-on representation of generation-Z. The comfort level is established effectively aiding the director to not devote much of screen time to show them getting acquainted. 

In Thalapathi, the director uses the motif of the sun throughout the movie to indicate significant turn-of-events. In OKK, the music is the sun's equivalent. The music camouflaged the settings and happenings on-screen - right from a rock fusion version of Bhavamu lona to the recurring chorus piece in Hey Sinamika. The songs were the fulcrum around which the different stages of their relationship hinged. "Parandhu sellava.."is a mien of what they feel about being with each other. Cut next to "naane varugiren.. kelaamal tharugiren" that masquerades their first love-making, depicted in a Balachanderesque style with "chinnajiru chinnajiru rahasiyame, chinnaanjiru chinanjiru adhisayame" playing at the back. Once they move in together and we have the ethereal "malargal kaetten, vaname thandhanai.. edhai naan ketpin, unaiye tharuvaai" telling us that all she expects is a good companion but he ends up making her a part of his life. As audience, it's a pleasure to witness songs being seamlessly woven into the narrative.

It's the same when the film opens with “Kaaara.. aatakaara.." complementing a quirky animation visual and Mani Ratnam sets the tone here. The movie is going to be unorthodox and  he clearly laid it out for us to not have any pre-conceived notions about the film. The animation game was a tongue-in-cheek dig at the majority of Mumbai based mainstream films that have hit the screens. It was done on purpose and augurs well with the tone and setting of the film. During the climax, you have the couple dancing alone, which should be the final impression of Adhi and Tara in the audience's mind. The subsequent separation scene at the airport is presented as an animation montage. Why? Because it's mushy drama and it's not needed. Any effort to instill dramatization of events would only seem contrived to the core narration. There were many little gems in the film (like the confrontational scenario in which the ‘game over’ message appears on the screen and few seconds later, we see his niece exclaim “innum oru life irukku”).Vintage Ratnam.

Mani Ratnam is a master in making romantic films and finding the balance between the dichotomy of traditional and contemporary. Take the sequence in which Mani Ratnam made one couple discover themselves while helping search another. It’s a proper ode to old school romance (how many times we've seen wives say “naa illama ponaa dhaan en arumai unakku theriyum!” to their other half?).The metamorphosis from being facetious, yet genuinely romantic individuals to a matured couple who become emotionally available because of unsaid love was splendid to watch.  

Many seemed to have forgotten the origin of the story between Ganapathy (Prakash Raj) and Bhavani (Leela Samson). Their marriage was a consequence of mistaken identity. Ganapathy was in love with Bhavani and unlike his friend who wrote a love letter to her, he didn't express it. Ganapathy did not bother correcting Bhavani, who thought that the love letter was written by him. What Ganapathy did there was ethically wrong, selfish albeit bold for Gen-X. They were not a 'meant to be' couple nor was their marriage “arranged”, by definition. This story was something Aadhi could relate to. Ganapathy’s characterization is a reflection of societal norms, and the need for its flexibility to adapt to changing times. There is a scene where Tara asks Adhi, "unnala Ganapathy uncle maadri enna paathukka mudiyuma?" and what we discern is the past, present and a hint about the future of the same relationship.

Mani Ratnam does not complicate the film with any extraneous problems and leaves it to the leads’ mindset to be their obstacle. The biggest strength of the movie is that he decides to not take a stance about live-in relationships. Yes, that’s the base/ core plot (if one may call it) of the film but he just observes, much like the audience, the evolution of two characters after making a decision to live-in together. We see a flow of events musically narrated through PC Sreeram’s lens. 

Bollywood dealt with live-in relationship a decade ago with Salaam Namastes and Dostanas and thus perhaps one can consider OK Kanmani to be a novelty in Tamil cinema. OK Kanmani is a unique brand of cinema. It's the romantic film that will probably become this generation's identity.

PS- I badly wanted a cameo by Karthik and Shakti just to add some delicious flavor to this blithe and comforting dessert of a movie.