And this relationship expands between Amudha and Indira, Amudha and Shyama (Nandita Das who portrays her biological mother) and Shyama and her motherland (Sri Lanka). Kannathil Muthamittal is one of the few Tamil films to dive deep into a relationship between mother and daughter. Here, there is anger and betrayal, all portrayed through just her glistening eyes.
While Madhavan's memo was clearly to remain stoic, Simran's expressions were kaleidoscopic as the actor portrayed a range of emotions, all culminating into her standing opposite Amudha on the railway platform.
The pain she faces is evident, you don't have to be a mother to understand.Īnd as they travel by car to the station, in a matter of two minutes, she shifts from anger to desperation and self doubt, as she questions whether she didn't bring up her child well enough. The anxiety on her face as she says, "Amudha Amudha, why have you gone there?" makes you hold your breath. She moves from relief, to concern, to comforting her daughter on the phone. But this is only after repeated viewing because for the first 20 times, you are still crying with her for the lost child.
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When Amudha disappears from school and is later found at the Perambur railway station, Simran displays a series of heightened emotions which leave you in awe. But, in Kannathil Muthamittal, director and screenplay writer Mani Ratnam's beautiful characterisation of Indira and the soul Simran gave to the role, keep you wanting her in every frame. It is very rare in Tamil cinema for the audience to wish that the female actor was there to save the day or rescue the other characters from making a grave mistake. You know it was a mistake that she is not the one breaking the news. Though she may be the bad cop when it comes to parenting, they recognise that she is their anchor.Īnd so convincing is her performance that when her husband Thiruchelvan (Madhavan) reveals to Amudha (Keerthana) that she is adopted in a rather brusque way, you ache for Indira's soothing presence. Within the first few scenes of the film, it is apparent that the children in the household dote on her. With a comb stuck to her head and hand ready to whack her naughty children, she's a sea apart from the glamorous roles that she was known for. Simran excels in portraying the role of a harried mother and wife, who has always put her family before her. She is constantly busy, handling the children, her husband (played by Madhavan), her father and the housework. She is a quintessential working woman — which in this, and most patriarchal households, means that she does all the housework and manages to keep her job as a television anchor. She is seen in an everyday blue salwar with a yellow dupatta tied hastily, combing her daughter's hair and zipping up her son's pants. As the mother of three children, she shed every vestige of glamour, even ignoring her dancing prowess, to dedicate herself completely to the performance.įrom the very first shot of Indira in Kannathil Muthamittal, it is clear that Simran or the stereotypical idea of her was not present in the movie. She had no less than eight film releases — all demanding different strengths and performances.Īnd Kannathil Muthamittal, which released soon after Pammal K Sambandam (a comedy), saw Simran like never before. To say that 2002 was one of Simran's busiest and biggest years in Kollywood would be an understatement. But today, in #WatchwithTNM, we delve deeper into how Simran brought to life a mother's internal conflict in a land that is in war with itself. But, while her performance was critically acclaimed, the film's message and child actor Keerthana are often the first to be recalled by the audience when the film is mentioned. Kannathil Muthamittal, which released in 2002, is arguably one of Simran's best performances and it didn't go unnoticed, as is evident from the multiple awards that she and the film received.
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