Pennum Porattum (Malayalam)
Slander and violence operate on the same principle – both cannot be eliminated, only suppressed. One snap in the shred of moral integrity that holds either back is enough to wreak havoc. In Rajesh Madhavan’s directorial debut Pennum Porattum, slander and violence become vehicles of a witty, disruptive comedy set in rural Kerala.
The plot unfolds in the fictional village of Pattada, where decades ago, residents gave up arms to broker peace. Generations later, there is a semblance of harmony, but the underlying unrest is far from settled. One day, Suttu the dalmatian and Charulata, a bold young woman, breach the boundaries drawn for them – his physical and hers, moral.
As one group of people chase Suttu (voice dubbed by Tovino Thomas), another chases Charulatha’s (played by Raina Radhakrishnan) chastity, marching to the house of Kumar (played by Dinesh), who says he prefers casual sex over marriage and monogamy. The whole village is determined to rein both of them in, through brute force, public shaming, or whatever works to their advantage.
In its storytelling format, Pennum Porattum belongs to the new wave of films like Thinkalazhcha Nishchayam, set in rural spaces where routine quarrels and gossip mongering co-exist with warmth, humour, and human complexity. Writer Ravi Shankar does not pass moral judgements on the characters. Instead, he lets things spiral until virtues and vices in people reveal themselves.
Yet, Pennum Porattum is firm about where it wants to go. While the villagers are not viewed with prejudice or flattened into rural stereotypes, the film clearly marks where those with no social power stand in the scheme of things. The parallel between Suttu and Charulatha, both hunted down for no fault of their own, contextualises how mobs justify cruelty under the guise of maintaining order.
Charulatha and Dinesh also become metaphors of how desire is branded as obscene, while sleaze goes unquestioned as long as it does not raise scandal.
Sabin Uralikandy’s camera alternates with ease between Suttu’s point of view and that of the villagers, and editor Chaman Chakko ensures that the frenzy never dies. The art department has taken meticulous care to add detail to every scene.
The cast primarily comprises newcomers, native to Palakkad district, where the film was mostly shot. This choice works well in the film’s favour. The cultural authenticity and diversity of actors speak to the team’s political intent to stay true not just to the story, but also to how it is made and told.
Tovino’s voice as Suttu helps lighten the dread in the dalmatian’s existential crisis. So much so that when he finally crosses the river, you just know he will be okay in the big world out there.
Porattu is a form of satirical theatre, traditionally performed in Palakkad. Taking inspiration from the name, Pennum Porattum tells a sharp, biting story of violence, desire, and control.
The critique is wrapped in humour, but Rajesh Madhavan’s barb cuts deep. By the end, he asks a disarming question: are we truly kind, or are we only kind until things work the way we want them to?
Disclaimer: This review was not paid for or commissioned by anyone associated with the film. Neither TNM nor any of its reviewers have any sort of business relationship with the film’s producers or any other members of its cast and crew.