When deceit and manipulation weave into the tapestry of a community, the impact can alter the fate of its residents, blurring lines between myth and reality, as deftly portrayed in the cinematic world of ‘Perumani’. The village of Perumani, like so many in the real world, is not immune to the machinations of those who stand to gain from discord sown amongst the well-meaning folk. This captivating narrative is unravelled in the film ‘Perumani’, which opens with an animated folk tale about an ancient curse, setting a whimsical tone for the entire story.
Directed by KB Maju, ‘Perumani’ is his third film, carrying the assurance of a director who is confident in his craft, reminiscent of the consistent dark atmosphere he etched in his previous work, ‘Appan’. In ‘Perumani’, Maju sustains the film’s peculiar tone, even as the plot darkens and tension builds within the screenplay. This cohesion is maintained without a single note of discord, a testament to Maju’s clear vision for the film.
The film’s set-up is a nod to the fictional villages commonly depicted in Malayalam cinema of the early 1990s, but with a treatment that belongs unmistakably to contemporary cinema. While one may argue originality isn’t its strongest suit, ‘Perumani’ is spruced up with moments that demand attention. One subplot involves the mysterious disappearance of crows, leaving a crow-scaring professional to face an unexpected void. Another captures Abi (played by Lukman) and his mother, returning home to his father’s second wife, beautifully illustrating the gradual bond forming between the two women.
Starting with the underhanded posting of a lie on the village noticeboard—a lie concerning the impending nuptials between the affluent Nazar (Vinay Forrt) and Fathima (Deepa Thomas)—the plot revolves around consequences that spin out from this single act of treachery. Maju, who also penned the screenplay, introduces us to a variety of inhabitants in Perumani, each imbued with their own unique essence, yet the crux of the film remains fixated on Nazar’s story and his wedding to Fathima.
Nazar, sketched with the outlines of toxicity, is a man whose paranoia and suspicions could be ignited by something as trivial as an innocuous painting. His efforts to validate his doubts are relentless and often absurd. Through Manesh Madhavan’s expansive lens, such characters are playfully mocked, while individuals like Fathima and Ramlath (Radhika Radhakrishnan) are treated with respect and grace. Their claims to independence are not loudly proclaimed, but presented as an innate component of their character.
‘Perumani’ does not take itself too gravely, and this is precisely why it manages to deliver an appealing film experience, one that leaves you with a residual taste of folklore in your mind. The movie, decorated with the hues of myth and mirth, engages viewers in a tapestry of events that effortlessly blend the past with the present, showcasing the enchanting power of storytelling even when faced with the stark realities of human nature.
Currently showcased in theatres, ‘Perumani’ is more than just a simple visual narrative—it weaves together the threads of myth, drama, and humor to produce a rich portrayal of village life that resonates with the subtlety of a folktale passed down through generations. It is an offering to Malayalam cinema that respects the tenets of its traditional structures while infusing them with a modern zest that majestically captures audience’s imaginations.
