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Robert Browning, the noted Victorian poet
always believed that ‘’God is in Heaven and all is right with the world’’. He
reflected this sense of robust optimism through out his poetic career. Whereas
poets like Shelley would fluctuate between moods of hope and despair in their
creativity. At times, Shelley would cry ‘‘I fall upon the thorns of life; I
bleed’’ Immediately he would philosophize saying interrogatively‘If Winter
comes can Spring be far behind?’Film makers also quite often experience mood
swings of positive and negative pulls. But there are some who devoutly and steadfastly vouchsafe
the spirit of optimism. Among Tamil film makers, director Vikraman tops the list
as an undeterred optimist truly representing himself as the votary of selfless
love, built on a base of positive fundamentals.
Starting from his Pudhu Vasandham it has
been a smooth journey for Vikraman driving his well serviced vehicle through
the highways of hope, to luminous destinations.His first venture itself
revealed the frame of mind of a decent film maker, genuinely attempting to
stress the possibility of friendship without perversity, between a woman and
four men. As expected, this film got him the best director award from the State
of Tamil Nadu, besides getting the best film award too. His Poove Unakkaga with
an aesthetic title sense, not only helped Vijay to rise up to a star status but
also sang a song of unrequited love with ideal notes blended to melodious
tunes. It was a clean love story with a soothing family background, neatly told
without the usual cinematic additions, that would have made it a melodrama.
Storyline and dialogues carried the kernel note of optimism, through clear headed
characterization. It was no wonder, the film saw its silver jubilee.
Though Vikraman’s other films like Gokulam,
Puthiya Mannargal and Naan Pesa Ninaipadhellaam made moderate entries at the
box office, focus on emotional well being exhibited as the core principle of the
director, made the all pervading sense of nobility in characterization, as the feel good
factor of these films. Vikraman’s
committed involvement in unfolding the goodness in individuals as the
vital source of a healthy and happy life model, has consistently upheld his film
making endeavours. In films like Gokulam, and Unnai
Ninaithu, it was a woman’s selflessness and sacrificing temper that provided
the ennobling and redeeming stuff. On the other hand, it was the turn of man to
be a sacrificing enthusiast in Poove Unakkaga, Sooriya Vamsam Unnidathil Ennai Koduthein and
Vaanathaipola. In establishing the supremacy of love between man and woman
either in straight or triangular romance
through emphatic exemplification of sacrifice, Vikraman could be compared
to veteran director Sridhar of the last millennium.
Interestingly, in Sridhar’s narration it
was a mortifying experience for those who chose to sacrifice their lot for
the sake of the one, whom they deeply loved. No one can miss the pain the hero
or heroine suffered in films like Nenjil Oer Aalayam, Kalyana Parisu, Nenjirukkum varai,
Avalukkenru Oer Manam and Azhage Unnai Aaraadhikkirein. Whereas,Vikraman makes
his characters, role models of goodness and empathy, as if sacrifice is a part
of life, without the need for brooding over their good nature in a mood of self-pity or self-glorification.What makes
his protagonists the incarnation of virtue is their unshakable faith in
goodness and their steadfastness in doing good to others without claiming any
recognition or without compromising their basic
positive approach to the realization of well- drawn objectives. The fact that Vikraman is one
among those who make films without over laden negative sentiment or crude villainy is an
authentic revelation of his commitment to discover more of the positive side of human attitude
and understanding of life. Like Poove Unakkaga,Vikraman’s two other films
Sooriya Vamsam and Vanthai Pola, became solid commercial hits without taking
the audience too much on the action track.
Meek
characters with a mighty base of nobility become the continued assets of
Vikraman’s creative imagination. Thiruvalluvar, the illustrious Tamil saint
said, one who does not move even a bit from his state of modesty and humility
becomes mightier than a solid rock. This is what Vikraman has been trying to
prove in sketching the character of his protagonists. Sarathkumar and
Vijayakanth proved to be pillars of strength in not projecting themselves as
super heroes but in maintaining poise and dignity towards consolidating their
nobler perspectives of life. Sarathkumar as a devoted son and supportive
husband stood tall as the embodiment of love and humbleness. As a protective
and passionate elder brother, Vijayakanth vindicated the strength of silence and
equanimity.
Large families with their interlinked thread
of cherished intimacy and affection are the strongholds of a Vikraman movie. Melodious
music has ever remained a delightful addition to the aesthetic appeal of most
films of Vikraman and the credit in this regard goes to a single music director, none other than S.A.Rajkumar. Awards
have crowned Vikraman with honour and pride three or four times, both for his best
direction and for the best quality of his films. Beyond all these merits and
awards, a majority of his movies stand apart as the beacon lights of invigorating hope, solace and the sharing
fellow- human spirit. Even in focusing the emotions of a wife occupying the
middle position between her husband and his other gender childhood friend,
Vikraman took the line of lenience in the sense that he beautifully pictured
the character of the wife as an understanding, broad minded and sympathetic
woman. It was Jyothika who excellently played the wife’s role and the positively
energizing film was Priyamana Thozhi.
If director Bala could be called the
grandmaster of negativism with a
disturbed mind, probing into the undisclosed morbid side of the human psyche,
Vikraman can rightly be named the brand ambassador of optimism, ever ready to go
with the flow, spotting out only the good things that come in the way. Hatred
and misanthropy are unknown to the film making concept of Vikraman. It is the
rosy side of life that he has devoutly tried to present. It is not that
Vikraman’s films are devoid of selfish and crooked characters. But at the end
of any Vikraman movie such negative elements will feel humbled by the shining
nobleness of the loving spirit of humanity that stoops only to conquer. It is
the conquest of selfishness by the self surrendering individuals that brings
down the curtain. As the curtains fall, the audience would leave the theatres
either with a cathartic consolation or with a sense of fulfillment. It is in
this respect, Vikraman scores his position as a confirmed optimist.
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