It’s one thing for a film to be women-centred, quite another to be led by a feisty and intrepid moped-riding matriarch, who refuses to be dictated by modern-day norms of propriety, let alone her own grown-up sons. Much like the squally uchchimala winds that define the underlying theme of writer-director Vipin Radhakrishnan’s stirring Tamil rural drama Angammal, the 117-minute film’s titular character (played by stage and screen veteran Geetha Kailasam) is gusty and unapologetic, who loves flaunting her tattooed arms but hates wearing a blouse. Inspired by acclaimed Tamil writer Perumal Murugan’s short story, Kodithuni, the movie had its world premiere under the ‘Focus South Asia’ section at the recently concluded MAMI Mumbai Film Festival 2024. By his own admission, Vipin has taken the artistic liberty to tweak the plotline, character arcs and possibly even the ending of the story to suit the film adaptation. A nuanced screenplay, compelling cinematography (by Anjoy Samuel) and powerhouse performances easily make Angammal one of the most riveting feminist narratives of recent times. It’s the story of a woman’s agency in a patriarchal world.
Set in the 1990s, this is the story of a spectacular windswept village in Tamil Nadu, where Angammal lives with her elder son, Sudalai (Bharani), his wife Saradha (Thendral Raghunathan) and their daughter Manju. Widowed at an early age, Angammal was burdened with the responsibility of raising her two sons, doing household chores, taking care of the family farm and cattle as well as serving the community. For 25 years or so, a vivacious Angammal, who is known for her childlike charm as much as her incivility, has been delivering milk to every household in the village. She gets started at the crack of dawn and labours the entire day, charging her way through the warm dusty fields into the narrow, bumpy lanes of the village. She rides a blue moped, listens to music on a walkman, smokes beedis, plays marbles with kids on village pavements and chatters with her friends. The story begins with Angammal bringing Manju back from school, as she narrates a folktale about the mysterious northern winds that once blew from the distant mountains and wreaked havoc in their little village.
Discussions about uchchimala kāṟṟu quickly transcended to the elusive uchchani flower as a prospective tattoo idea. Naturally, the little girl is fascinated by her grandmother’s quirks as well as her fearless attitude toward life, much to the disappointment of her mother Saradha, who already feels suppressed by her rather rogue mother-in-law. Things still run at a normal pace amid all the disdain and squabbles at home, until the younger son Pavalam (Saran Sakthi) arrives. He’s a fresh medical graduate, and Angammal is proud to see her little one finally returning home as a qualified doctor. She wants her son to look after the old and ailing village folk, but he seems to be a bit evasive ever since he’s back to his native land. Pavalam is in love with a city-bred girl (Mullaiyarasi Subashini), who comes from a cultured background. That’s not the problem though. What’s worrying Pavalam is that the girl’s family wants to visit their village and he is quite uncomfortable introducing them to his mother, who refuses to wear a blouse and has stains on her teeth because of regular smoking. He fears that she might come across as someone unmannerly and vulgar.
How this small friction spirals into a tumultuous situation, causing bitterness and resentment among the family members, forms the crux of the narrative. Angammal has never worn a blouse. She never felt the need to do that. Her mannerisms are rustic and she is not ashamed of that. At her age, she doesn’t even want to be coaxed to follow a decorum, just to appear ‘conventional’ yet ‘progressive’. However, her son is finding it difficult to cope with her unwavering nature, which is affecting their bond and dynamics. Vipin – who made his critically acclaimed directorial debut with the 2018 Malayalam film Ave Maria – has crafted every character with depth and clarity. While the plot majorly revolves around Angammal and Pavalam, you cannot miss the curious case of Sudalai, who discontinued his studies at an early age and instead worked at the farm with his mother. A rather subdued character, he loves playing the nadaswaram in the quiet of the night. Saradha, on the other hand, is a dutiful daughter-in-law, who tries to help Pavalam in convincing Angammal, but fails miserably every time. Little Manju plays a smart trick when the prospective bride’s family visits them with her parents.
There are other subtle yet engaging moments in the film too. Angammal dallying with her old flame (Vinod Anand R) will make you smile and wince at the same time. Her teasing of a young couple in the village as they walk by reminds you why it’s important to never lose your spirit, enthusiasm and sense of humour. Pavalam’s undying love for his mother and brother also shines through the storyline. Overall, Vipin’s cleverly written screenplay makes the film both evocative and gripping, without relying much on a moralising undertone. It’s interesting to see how he delineates the politics of ‘body’ and ‘decency’ spelt out by society. While the narrative does feel a bit of a drag after intermission, there’s not a dull moment in the film. The movie’s offbeat yet distinctive music and soundscape (by Mohammed Maqbool Mansoor, T Krishnanunni and Lenin Valapad) complements the comic relief moments in the narrative. Costume designer Dhanya Balakrishnan deserves a special mention. Angammal is presented by Njoy Films.
Saran – who is known for his performance in Vada Chennai, KGF: Chapter 2 and Meiyazhagan – puts up a brilliant act in Angammal. But it’s Geetha’s towering screen presence that makes Angammal an unforgettable watch. The Sarpatta Parambarai, Maamannan and Navarasa actor beautifully embodies the character of an unbridled matriarch, who is battered but not broken. She is extraordinarily luminescent in every frame, portraying each feeling and sentiment with equal intensity and skill. This might be a story set in a remote village over two decades ago, but the emotions and undercurrents fleshed out in the narrative are quite relatable even in a modern, urban family. It’s interesting to see how even amid all the madness, the family’s sense of togetherness is never dwarfed. Angammal’s resilience and determination to stand her ground even in odd circumstances is the film’s biggest takeaway. She values her community and its practices just as much as she cares for her family. Don’t miss the camaraderie between the protagonist and Pechiyammal. Angammal is a lot more than just a gritty and delightful rustic tale. Watch it!
Angammal
Writer and director: Vipin Radhakrishnan
Cast: Geetha Kailasam, Saran Sakthi, Bharani, Thendral Raghunathan, Mullaiyarasi Subashini, Sudhahar Das, Yasmine, Ashand Raju, Vinod Anand R and Yuvarani S
Music: Mohammed Maqbool Mansoor
Sound: T Krishnanunni and Lenin Valapad
Based on Perumal Murugan’s short story Kodithuni
Rating: 4 stars