Aparan, which came out in 1988 and was helmed by director Padmarajan, explored the concept of a doppelganger, someone who resembles you but is unrelated by blood. Christopher Nolan’s ‘The Prestige’ is another notable movie that skillfully utilized this theme. Interestingly, ‘Aparan’ marked the debut film for actor Jayaram. The central narrative of the movie revolves around Viswanathan, a young man who, after years of persistent job hunting, comes to the city for a crucial job interview. However, an extraordinary turn of events leads to the existence of another individual in the city who bears a striking resemblance to him.
This doppelganger’s wrongful actions put Viswanathan’s life at stake, and his battle to overcome this peril forms the heart of the film’s storyline. The film swiftly transitions into the second act, deviating from the typical pattern where the first act tends to be more extended, focusing on character introduction, their environment, and daily life. In contrast, the second act unfolds as the most substantial part of the movie. It’s during this segment that the character encounters a significant problem or experiences a departure from their usual life.
The transition from the first act to the second act is portrayed in a particularly captivating manner, making it a distinctive feature of the film. The film swiftly transitions into the second act, deviating from the typical pattern where the first act tends to be more extended, focusing on character introduction, their environment, and daily life. In contrast, the second act unfolds as the most substantial part of the movie. It’s during this segment that the character encounters a significant problem or experiences a departure from their usual life.
The fight sequences in the movie stand out distinctly from the typical action scenes of that era. The film features a remarkably authentic portrayal of combat, reminiscent of Mahesh’s ‘Pratikaram’ movie. It’s worth noting the incredible performance by actor Jayaram, who initially displays disdain on his face, transitions into anger, and ultimately conveys gratitude.
In this instance, we witness Padmarajan’s brilliance, portraying the characters alongside their shadows and reflections seen in water. The romantic scenes with Ambili (Shobhana) were particularly captivating, reminiscent of the intense eye contact shared between Sai Pallavi and Nivin in ‘Premam’. When it comes to the technical aspects of the film, the cinematography stands out with its diverse range of shots and angles, resembling the style commonly seen in contemporary LJP films.
An example of this innovative approach is evident in the scene where Vishwanathan’s father (Madhu) waits at the boat jetty to bid him farewell, a departure from the conventional shots that audiences had grown weary of in movies of that era. Furthermore, a distinctive shooting style is employed throughout the film, featuring unique panning and zooming techniques, including diagonal top-to-bottom and bottom-to-top panning. This creative approach creates a rhythmic flow when transitioning from one scene to another
Venu, the cinematographer, showcases his distinctive style throughout the film. Johnson Mash’s background music (BGM) masterfully captures the intensity of every scene, effectively resonating with the audience.
The haunting composition of the film’s title music immediately conveys the genre to listeners. In one particular scene, Viswanathan, believing his life is in jeopardy, embarks on a quest to find another person. Remarkably, this roughly 6-minute sequence is devoid of any dialogue; instead, it is enveloped by a powerful and unprocessed musical score. In today’s context, if this film were released, the background music in this scene might have been aptly titled ‘Viswa on Mission’
What truly captivated us about this movie was the portrayal of the antagonist, Aparan, who never actually appeared on screen. It showcased the director Padmarajan’s skill, making us all believe in the existence of this character beyond what was shown on the screen.
The movie concludes with a powerful unresolved conflict, as Vishwam chuckles at the funeral pyre of the villain. However, his enigmatic smile and expression leave viewers pondering whether it belongs to Vishwam or the antagonist, Uthaman.
