“Three stories, Three women – written by Three men” – This is “Sivaranjiniyum Innum Sila Pengalum.” It takes us through three stories. All these stories discuss liberation set across three decades. The protagonists are Saraswati, Devaki and Sivaranjini. Each of the 40-minute shorts covers the spectrum of middle-class life in suburban Madras/Chennai.
Tamil Literature and Movie
The conversation between Tamil literature and the Tamil film industry is important. It has been years since literature and movies combined together. Thanks to Director Vasanth S Sai for his love of literature. Thanks to him for reviving this genre. There will be huge pain, strain or hardship while capturing the pages to the screen. From page to screen, justifying a story to an extent matters. It’s not necessary to follow word by word.
Sivaranjiniyum Innum Sila Pengalum
‘Sivaranjiniyum Innum Sila Pengalum three are separate stories written by three men writers. They are Jeyamogan, Adhavan and Ashoka Mithran. Saraswathi, Devaki and Sivarajini are women from different strata of society. We constantly watch their routine, which makes us mundane. The everyday events of their life make us understand how they suffer or used to adopt a few things.
The movie moves at a slow pace. That might make us feel bored. But once we understand the concept, we will have a grip. There is a slow action happening in our life. Vasanth S Sai tries to capture the day to day life of three women, so it will be slow, but action will happen on its own.
Dialogues
The film holds a mirror for men’s behaviour toward their partner or woman, who is part of their life. Few dialogues like ‘Ponnugaluku elame kallu valikatha’, ‘Avanku Sapadu konjam rusiya sapada pudikuma, so enaku call pannu, na epudi solura’ are to understand. The deep-rooted misogyny in society in ‘The Great Indian Kitchen’. Story 1 and 3, looks similar. Saraswathi and Sivarajini have a kid in their life. More than that kid, their Husbands act like a kid. In each and every moment, their husband seeks help in everything. This makes us raise questions.
Point of view
These three stories have a great connection between space, lighting, camera angle and silence between dialogues. To be specific, in Devaki’s episode, we tend to see a huge house. The house is big, very big, but people’s hearts or privacy is not that big. The long-shot in this part of the story stays in contrast with the story plot.
Point of view and time are two other important features of this anthology. In whose perspective the episodes run gives an impression. Devaki’s story happens from her nephew’s point of view. Nephew is too young, which might create a huge impression in his life. ‘Search’ becomes an important part of the movie. Either the protagonist or supporting character do the search
Why is it Sivarajini instead of Saraswati or Devaki?
Even Though this movie encloses three stories. ‘Why is it Sivarajini instead of Saraswati or Devaki?’, this might be a huge question.
Sivarajini is our day to day life character. She stays in the marriage, even though her life is mundane. She holds herself even though she is broke after knowing that her college lost her cup. She holds herself, stays as a mother, daughter-in-law and Wife. Saraswathi and Devaki fight against their patriarchal society. Saraswathi, speaks back and Devaki burns the paper, moves out of the home. Sivarajini doesn’t do those, she hears and hears and hears.
All-3
All three stories have sterling lead performances by actresses who merge into the crushing milieu with heartbreaking authenticity. Each of the protagonists gets her liberating moment at the end of each story. But there is no triumph in their belated victory. They are women we never notice. Never acknowledge their inert lives. Never overstating the women’s right to protest. But not undermining it either.
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