Although it can be challenging to alter first impressions, Ponman defies most of our preconceived notions about the characters, as is often the case with well-written movies. This shift is not the result of dishonest scene planning or writing, but rather is gradually made clear to us as the plot naturally develops from one incident to the next. Furthermore, the transformation is not accomplished by quickly erasing characters who we had previously seen negatively; rather, it is accomplished by continuously providing us with the small details that would help us better comprehend their behavior.
The main issue of renowned art director Jyothish Shankar’s first film, Ponman, which is based on the novel “Naalanchu Cheruppakkar” by GR Indugopan, is dowry. However, the film approaches it through the eyes of an agent who, with the help of financiers, provides gold jewelry and collects the money gifted to the family during the wedding, rather than from the perspective of the shameless dowry seekers or the predicament of the families who are forced to borrow heavily for their daughters’ weddings. Until we learn more about him, Ajesh (Basil Joseph) seems to be a cunning master of this job, which is as specialized as it can get.
As well-rounded personalities are molded by the shifting situations in front of our eyes, we actually get to know nearly all of them better. From a timid yet reluctant bride, Steffi (Lijomol Jose) undergoes a dramatic and brave change before adopting a more nuanced and humanitarian stance as she gains a greater understanding of her opponent’s predicament. Her brother’s arc, played by Anand Manmadhan, goes from an aggressive, hot-headed political worker to a defenseless guy who quickly loses his zest for life. As for Steffi’s husband Mariano (Sajin Gopu), we get something more than the easy portrayal of a brute husband.
These clearly defined character arcs, which bend in magnificent ways, give Ponman a great deal of complexity. However, these by themselves couldn’t have kept the movie going. A shrimp farm, a shabby lodge room, and a home where a wedding has just taken place are among the notable incidents that punctuate the screenplay, which was written by Indugopan and Justin Mathew. With the plot being advanced by the moderately humorous discussions at the start and the intense dramatic encounters at the end, the picture maintains the rhythm it achieves in its first phase throughout.
Ponman does not exhibit the flaws that made Oru Thekkan Thallu Case, the movie version of another intriguing Indugopan tale, a drab affair. Credit for this must go to Justin Varghese, the music director, and Sanu John Varghese, the cinematographer, in addition to the improved screenplay. Not to forget, the performances of the lead actors, especially Basil, who pulls off a role which is nowhere near his comfort zone.
With its progressive message against dowries and the unhealthy fixation with riches, Ponman could have easily been another movie. Instead, we are treated to a captivating, impartial analysis of personalities, the majority of whom suffer from socioeconomic ills. It’s worth its weight in gold, Ponman.
