Although "Ponniyin Selvan 2" takes artistic licence with Kalki's theme, the performances and cinematic flourishes keep you interested.
The events of Mani Ratnam's Ponniyin Selvan: 1, which came out in the latter part of last year, left spectators with a lot of questions as well as a high: How did Arunmozhi Varman actually end up? that is the mystery woman that occasionally leaves a strong impression? What occurred to the Chola kingdom's succession conflict is of utmost importance.
These questions are addressed in Ponniyin Selvan: 2, as they should be. The climax of Mani Ratnam's sequel, which may be the subject of some debate in this context, especially among fans of the book, is left out of the Tamil classic in order to present it cinematically, but it largely captures the myriad twists and turns as the story develops.
Aditha Karikalan (Vikram) and Nandini (Aishwarya Rai)'s romance was hinted at in the first segment. A child Nandini is seen having a dip in a river in the first shot of Ponniyin Selvan: 2 from this angle. Keep this shot in mind because it sort of makes a comeback later in the movie. Before diving into the main plot, Ratnam crams the narration of this tale of young love into a few minutes' time, using almost three short AR Rahman songs.
However, we understand the rationale. The Karikalan-Nandini angle is the cause of most of the disarray in the Chola monarchy, which is still experiencing a lot of unrest. Ponniyin Selvan, also known as Arunmozhi Varman, is well and alive, yet he is ailing. Can he return and retake his place as the heir apparent? What would happen when Aditha Karikalan encounters Nandini? What about Vandhiyathevan (Karthi), the person who gave us our first introduction to the principal characters?
While there is a scene involving Vikram and Aishwarya Rai that becomes overly dialogue-focused, keep an eye out for their electrifying performances and director of photography Ravi Varman's creative use of light and colour in this specific scene. Aishwarya Rai Bachchan put a lot of work into her portrayal of Nandini, and it shows on film. She exudes confidence, although one wishes the writers had given her character more substance at the end. She is given a lot of character development—Vikram even refers to her as "the snake from Pazhavoor"—but her various colours could have been expressed better. Thankfully, the relationship between Karthi and Trisha is more muted and delicate, with the end of the movie featuring an appropriate top-angle shot and the end credits playing the endearing "Aga Naga."
The "Aazhi Mazhai Kanna" track, which oddly references to the water and is actually thought to have sucked up two important characters in the movie, is explored by AR Rahman in Andal's Thirupaavai. Given the amount of well-known actors, editing this magnum opus would be quite a chore, but Sreekar Prasad's edits make sure we see as much drama as we can.
Ponniyin Selvan's interpersonal dynamics and character drama, rather than the battle scenes that wrap up the film, form its heart. Although Kalki's literary work contains a number of turns that might be a bit difficult to follow for someone who is not aware with the PS universe and the family tree, Mani Ratnam's cinematic adaptation provides for a satisfying viewing experience.
