Moonnam Pakkam, much like Padmarajan’s other works, vividly portrays the fragile nature of human existence.
It delves into the intricacies of human relationships—revealing their delicate nature, the profound simplicity within their complexity, and the influential motivation and guidance they offer in our lives.The film sheds light on the potent motivational forces that exist beneath the seemingly mundane surface of human connections.
The storyline of this film centers on the bond between an elderly gentleman (Thilakan) and his sole heir, his grandson Bhaskaran, lovingly known as Pachu (Jayaram). Having experienced the premature loss of his only son, the old man finds solace and motivation solely in the presence of his living grandson.
Yet, Padmarajan skillfully unveils a sublime tapestry of interconnected relationships in the background.
Thampi, portrayed by Thilakan, takes center stage as the main character in the movie. His character radiates immense love for his family and friends, living for them and cherishing every moment with unparalleled devotion. Thampi’s portrayal encapsulates a profound and selfless love that becomes a driving force in the narrative, shaping the dynamics of the film.
Bhasi, also known as Pachu and portrayed by Jayaram, takes on the role of Thampi’s grandson in the movie. With a genuinely innocent nature, Bhasi exudes an abundance of love for his grandfather. Eager to spend his vacation with Thampi, he brings along his friends—Ranjith (played by Ashokan), Lopez (played by Rahman), and Krishnankutti.
Upon their arrival, the dynamics of the household undergo a transformative shift. The atmosphere becomes infused with lively energy, humor, and a palpable sense of love and fun. Bhasi and his friends, each contributing their unique charm, breathe life into Thampi’s home, creating memorable moments filled with laughter and warmth.
Apart from them, Nalini, a crucial presence in the household, whose very existence relies on the old man’s benevolence.
Bhadra, a young girl shunned by her parents, finding solace in the loving companionship of her well-off grandfather and a deep connection with Pachu.
Kavala (Jagathi), another solitary figure serving as domestic help, seamlessly integrating into the old man’s household.
Bhadra’s grandpa doesn’t get sad about his daughter being away. Instead, he finds inspiration in the hospital he manages. He really values the friendship he has with his granddaughter and an old friend, appreciating the companionship that life brings.
These folks, who don’t have the typical love and company that most people assume they’ll have, are actually really brave and strong. Instead of feeling down about their situations, they find meaning in forming connections based on their emotional needs—they simply want companionship and to feel secure.
Thampi, played by Thilakan, is leading a peaceful life in his hometown during his old age. He eagerly awaits the arrival of his grandson, Bhaskar (Jayaram), affectionately known as Pachu, who is visiting from Bangalore. Pachu, a medical graduate, plans to spend time with his grandfather and friends, as well as meet his fiancée, Bhadra, who is also a granddaughter of Thampi’s friend.
The days pass joyfully with Pachu and his friends exploring the countryside. Pachu receives a lot of love from Thampi, whose excitement and longing for Pachu’s presence become evident. Thampi reveals that Pachu is his only living direct blood relation in the world, as Pachu’s father passed away years ago, and his relationship with his mother in Bombay is distant. Pachu, in turn, seeks love and affection from his close bonds with Thampi and Bhadra.
Everything is going well, filled with love, humor, fun, and the beauty of nature
What takes a sad story in this movie ?
Absolutely, the contrast between joy and sorrow can amplify the emotional impact of a sad story. It’s like the emotional rug being pulled out from under you. Starting with happiness allows you to form a connection with the characters and their positive experiences, making the eventual tragedy feel more personal and heart-wrenching. It’s the emotional investment that makes the sad moments resonate deeper.
Moonnam Pakkam does this too, especially in the first part. We’re given a lot of happiness, both in what we see and hear, so when the tragedy hits, it’s even more shocking.
One day, Pachu and his friends go to the beach near their home. While playing in the water, strong waves pull Pachu under. Despite his friends’ frantic efforts, he is swept away by the sea. The heartbreaking news reaches Pachu’s loved ones, with Thampi and Bhadra being the most devastated, and of course, Pachu’s mother rushes over.
In movies, grieving can seem clichéd, but it’s a truth in cinema. Someone dies, people grieve in different ways. But what really matters is what happens after the mourning. How do those who mourn move on, or do they?
During this phase in the movie, understanding Thampi’s character is crucial.
He’s easy-going, caring, and respected by the town. The tragedy hits him harder than anyone else. Despite this, he tries to be strong, comforting others, especially Pachu’s friends who feel partly responsible for his death.
Thampi avoids saying outright that Pachu won’t return, even reassuring Bhadra that Pachu might be safe, mentioning similar incidents with happy endings. It’s unusual for a rational person like Thampi, making us wonder if he’s wearing a brave face or holding onto a glimmer of hope.
The third day arrives, and Pachu’s body washes ashore. The grieving continues, but there are rituals and formalities to be done for Pachu, taken on by Thampi. They visit the same beach, and as Pachu’s friends watch from a distance, waiting to say their final goodbye to Thampi, he performs the funeral rites.
While everyone observes, Thampi walks into the sea carrying the funeral rice offering (Balichoru). Despite their pleas for him to stop, he keeps walking deeper into the sea. Thampi lets himself be taken by the sea, and the movie ends with the quote – “And, yet another third day.”
It’s impressive how the film delves into such intricate layers of human relationships and emotions. The exploration of love, joy, tragedy, hope, despair, courage, surprise, nostalgia, and devotion creates a rich tapestry of feelings.
Thampi’s character, in particular, seems to be the emotional anchor of the story, with his love and sacrifice leaving a lasting impact. It’s fascinating how the beach serves as a symbolic space for both happiness and goodbyes, adding a poetic touch to the narrative.
The film compels us to reflect on the vulnerable fragility of our own lives. In true Padmarajan fashion, the director dismantles the very pedestal on which we’ve stood, reevaluating life until that pivotal moment.
The movie concludes abruptly, its haunting climax thrusting the harsh reality of life, usually cleverly overlooked, onto our faces.
Yet, nature persists. The sea endures, indifferent to the two deaths it orchestrated. Waves crash on the shore, the fort and ruins stand resilient.
In Padmarajan’s movies, he often uses a familiar theme. He carefully creates strong connections between characters, whether they were already there or developed during the story. These connections usually influence the emotions in the second part of the film. While this theme isn’t rare in Malayalam/Indian cinema, Padmarajan’s way of portraying relationships is unique. It’s unusual, complex, and maybe even old-fashioned, considering his reputation as a filmmaker who was ahead of his time.
