Vimaanam movie review: Prithviraj Sukumaran, Durga Krishna embody heartache and yearning
Director: Pradeep M Nair
Imagine being in love and being denied the right to choose the person you want to spend your adult life with. Imagine the ache of a lifetime spent wondering what became of her or him. Imagine your career taking flight sans the one you want to fly with.
Director Pradeep M Nair’s Vimaanam (Airplane) is a good, old-fashioned (I mean that in a nice way) tale of friendship, romance and the pain of separation in a conservative milieu where families resort to politicking and even violence to keep young lovers apart. Prithviraj Sukumaran here plays the renowned aeronautical engineer, Professor Venkateshwaran, who receives a call one day from a girl identifying herself as “Janaki’s daughter”. The mention of that name gets the lonely old man emotional and he decides to head for his hometown in Kerala where this Janaki is waiting.
Much of his train journey is spent in a flashback to a time decades earlier when Venkateshwaran was Janaki’s Venkati. They grew up together and now spend their youth in each other’s company, initially blissfully unaware of the prejudice and negativity that will ultimately tear them apart.
Janaki (Durga Krishna) is a pre-degree student from a well-off Hindu family, the daughter of a powerful lawyer whose word is law in a home where his wife cowers before him and his child is punished for not cowering. The hearing-impaired Venkati, on the other hand, is the offspring of a Christian-Nair marriage who has grown up with financial struggle and now, as a high-school pass-out, earns a living as an automobile mechanic to support his widowed mother and sister while working on the side to fulfill his dream of building a plane with his bare hands.
The structure of Vimaanam is such that we pretty much know how the flashback will end from the moment it begins. The joy though is in the treatment of Venkati and Janaki’s journey. Prithviraj and Durga imbue their characters with innocence and clear-heartedness that is alluring. Despite the anger, bias and scheming all around them, they somehow manage to remain pure and clean. Their seeming incorruptibility makes them protagonists you root for (even when they break the law at one point, in pursuit of his dream). I wanted him to make that plane, I wanted her to have her freedom, I wanted them to be together.
The story is told from Venkati’s standpoint, but this is not a conventional male-centric romance. Janaki takes centrestage with him and if I have a grouse it is that while we get to know her, her family, Venkati and his allies, the screenplay neglects his mother and barely shows us his sibling.
Comparisons are inevitable between Vimaanam and the 2015 Parvathy-Prithviraj-starrer Ennu Ninte Moideen about a Hindu woman and a Muslim man in love in 1960s Kerala. At the risk of being reviled by fans, I confess that although Ennu Ninte Moideen’s theme itself was gripping, I found the film inexorably stretched to manipulate the audience. Vimaanam gets its tone just right most of the time and its occasional descent into maudlin, melodramatic territory (the airport scene, for one) is forgivable because its drama and scale are at no point allowed to dwarf the intensely personal portrait of the couple at its core.
The other inevitable comparison would be with this year’s Vineeth Srinivasan-starrer Aby, the release of which Vimaanam’s makers unsuccessfully tried to stop in court. Aby was about a mentally slow, socially awkward young man without an aviation background who builds an aircraft in his hometown. Both are reportedly inspired by the same true story. The thematic similarity notwithstanding, Aby was tedious whereas Vimaanam pulsates with dreams and regret.
The film’s achievement is that although it has been made on a lavish scale in spectacular locales with eye-catching visuals by DoP Shehnad Jalal and top-line VFX (barring the clouds in the final frame), it never diverts its gaze from Janaki and Venkati. Despite the grand aerial views of cliffs, sands and the vast ocean, it remains from start to finish an intimate saga of heartbreak.
One complaint: while Jalal shoots his hero well, he is needlessly determined to emphasise his heroine’s looks. Yes yes, we get that she has large, attractively droopy eyes, but there was no need to give us so many close-ups of those eyes from so many angles, all with the purpose of capturing her looks rather than her sentiments. Interestingly, he pulls away and gives that lovely face space whenever his attention shifts from the physical to the emotional.
Both actors bring their A game to this film. They have a warm on-camera equation. Despite being a debutant, Durga Krishna shares the weight of the film with Prithviraj and carries it on her shoulders with confidence that is not intimidated by his experience. He effectively alters his physicality to signify the advancing years. Although he is too much of a man to look like the boy he is supposed to be in the flashback, he gets halfway there through what appears to have been considerable weight loss in addition to his body language.
In their later years, he gets good ageing makeup, hers leaves her looking much younger than she could possibly be when we meet her as an old woman. Considering the money that has clearly been invested in this enterprise, it is also disappointing to see the lack of detailing in this department. Hands and the sides of necks age too, you know. The makeup team missed that point.
Vimaanam’s supporting cast is led by the always excellent Alencier Ley Lopez playing Roger, Venkati’s mentor and co-conspirator in the business of making his first plane. Sudheer Karamana too turns in a neat performance as the hero’s comrade in arms. It is particularly nice to see the two let their hair down for the scene featuring the song 'Meghakanavinu'. The usually dependable Saiju Kurup though opts for overstatement in his role as one of the spokes in the Janaki-Venkati romance.
Gopi Sundar’s songs work well when they are woven into the narrative. 'Meghakanavinu', in particular, is entertaining and unusual in the way it uses two female voices and the sounds of the tools in Venkati’s workshop in its instrumental arrangements. Here too, we get evidence of the director’s intent to stay equally focused on his male and female leads. He is working, she is assisting him and his team, but the song is hers with the others singing in chorus in the background. It is an atypical musical choice that subtly reflects the filmmaker’s mindset.
The song that should have been dispensed with is 'Vaaniluyare', melodic though it is. It is one of those stereotypical numbers to be found in commercial films across Indian film industries where the hero and heroine sing and dance at archaeological sites and locations of exquisite natural beauty. Though Durga’s grace and considerable dancing skills are in evidence here, Prithviraj’s personality is not a fit. Besides, while there is a certain kind of film in which this kind of diversion works, Vimaanam is not that film.
What it is is a brooding depiction of great achievements overshadowed by great sadness and a sense of emptiness, when your being remains forever chained to a past not of your making. Prithviraj as Venkati and Durga Krishna as Janaki embody yearning and heartache. Whatever the film’s missteps may be, I found myself cheering as Venkati’s first plane took off, but most of all, I really really wanted to see Janaki with him. Sweet simplicity is not easy to achieve on screen. That’s what Pradeep M Nair delivers with Vimaanam.
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Updated Date: Dec 25, 2017 09:39:33 IST