From Pudhea Paadhai to Iravin Nizhal: Check out Parthiban's unconventional choices in filmmaking

Iravin Nizhal, written and directed by Parthiban, had a theatrical release last week. The AR Rahman musical, in which the actor stars, is not just any non-linear film, but the makers claim it is the world's first non-linear single-shot film. However, this is not the first such attempt for Parthiban, who has always been driven to explore unknown ground since his directorial debut in 1989.

Here's a compilation of Parthiban's filmography:

Pudhea Paadhai (1989): Parthiban's debut film depicts a rape survivor's effort to reform the inhuman rapist. And, this raised a few eyebrows for its depiction of an issue that is normally considered taboo on celluloid.

Eventually, Pondatti Thevai (1990) and Sugamana Sumaigal (1992) followed, and both bombed at the box office. Parthiban, who had infused his cinema with messages, was dissatisfied with the films' reception, particularly the latter, which depicted the exploitation of a destitute, terminally sick boy by an underworld don. The film discussed violence and poverty. A desperate Parthiban was compelled to make some sacrifices after burning his fingers in these two flicks. The outcome was Ullae Veliyae (1993), a sleazy commercial picture filled with titillating performances. The attempt paid out, and the cash registers rang.

Housefull (1999): The film, a spin-off from the Coimbatore serial bombings, investigates human psychology in a risky circumstance such as a bomb detonation. Parthiban believed that his harsh treatment would "have an influence on the minds of the terrorists and encourage them to give up their suicidal methods via reasoning and argument." Unfortunately, the majority of the filmmaker's characters are imperfect and suffer from restlessness. Is it true to its creator? Pat is the response. “Yes. In general, I am a highly restless person. Despite having gone through all of life's ups and downs and yet achieving my goals."

Not one to blame the public for the poor performance of some of his films, Parthiban admits that Housefull, while winning him national acclaim, did not bring home the bacon. "My films have a consistent audience expectation. I deviated from the norm, only to be rejected by the paying audience. All of my typical violent outbursts were lacking in my little role as Ayya, and the audience couldn't handle it."

Parthiban, whose eyes were focused on the 70mm technicolour from a young age, worked as an assistant director before wielding the megaphone for Pudhea Paadhai. He worked with K Bhagyaraj on several films, including Chinna Veedu, Davani Kanavukal, and Aakhri Raastha. Parthiban quickly learned the trade and managed to make a name for himself.

Kudaikul Mazhai (2004): An autorickshaw driver bumps into a beautiful young woman at a coffee shop, who seems to be smitten by him. He does not take her seriously at first but finds his whole world turned upside down when he falls for her. Kudaikul Mazhai discussed schizophrenia and was considered ahead of his time. The film, which stars Parthiban as two characters, attempts to treat the mental health issue respectfully. Though its brilliant climax compensates for its muddled storyline, audiences needed time to grasp the film's intricacies. It was praised by reviewers for being a unique film within the commercial genre, but it underperformed at the box office.

Kathai Thiraikathai Vasanam Iyakkam (2014): Parthiban makes a brave and effective attempt to steer the film away from its typical worn path with his innovative screenplay and unconventional narrative technique. With its catchy title and odd tagline: 'a film without a plot,' the picture drew a lot of attention. The film packs enough power in its 128-minute running length to make it worthwhile for moviegoers to undergo an unusual cinematic experience. The film is multi-layered and hammers home many realities about life in general and the film industry in particular. It is about an ambitious filmmaker and his team's endeavour to come up with a decent narrative for their upcoming movie. There are special appearances by many actors, Arya and Amala Paul having extended cameos. The songs were written by four music directors: Vijay Antony, Sharreth, Alphonse Joseph, and SS Thaman, with background music by Sathya.

Koditta Idangalai Nirappuga (2017): A young NRI falls in love with another man's young wife but feels horrible about it. The picture had a good start. However, with such a flimsy narrative, it appears like the filmmaker was attempting to stretch it to an unbearable length. The screenplay loses momentum as the narration proceeds but picks up again near the end. The story revolves around three people. Rangaraj (Parthiban), a taxi driver who dabbles in real estate, his wife Mohini (Parvathi), and Kevin, an NRI (Shanthnu) who visits India and is interested in purchasing a residential property. Although the plot contains all of the components of an adult comedy, the film does not focus on the story.

Oththa Seruppu Size 7 (2019): The film featured only one actor—Parthiban—who managed to deliver an engaging entertainer with his performance. In the backdrop, there is a dramatic voice-over by the actor-filmmaker, in which he questions societal inequity. His film is one-of-a-kind since he not only acted in it, but also wrote, directed, and produced it. No less an actor than Sathyaraj, a confessed MGR enthusiast, praised the tagline to Oththa Seruppu... on the rich-poor split. The film went on to win a National Award and was remade in the Bahasa Indonesia language. This one is getting remade in Hindi with Abhishek Bachchan reprising Parthiban's role, produced by Amitabh Bachchan.

Iravin Nizhal (2022): Publicised as the world’s first non-linear single-shot film, the film was released last week, in theatres. Iravin Nizhal stars Parthiban in the lead with Varalaxmi Sarathkumar, Anandha Krishnan, Robo Shankar, Sai Priyanka Ruth and Brigida Saga in supporting roles. The film has a technical crew that includes Academy award-winning sound designer Craig Mann and VFX supervisor Cottalango Leon. Arthur Wilson is the cinematographer. "Pudhiya Paadhai was the story of a kid who was born in a garbage can. Iravin Nizhal begins with a toddler attempting to consume the milk of a deceased mother's body. Think about how terrible his life would be," Parthiban said, in an interview.

The filmmaker wants Iravin Nizhal to be a financial hit so that it opens the door for other directors to take a couple of cameras and start filming anything. "Iranian films are created in this manner, and they become famous across the world. I want Tamil films to be like that as well. Iravin Nizhal's success will rekindle my enthusiasm, which will only lead to other intriguing films," he added.

Parthiban's canvas throbs with emotional intensity as a subjective narrator of life. Aside from the human turmoil, there is a message or two. He believes every film must leave an impression on its viewers. "Three hours is a long time in today's fast-paced world. As a result, films must have a good mix of pleasure and teaching. However, the filmmaker must keep the story from becoming preachy," he observes.

Films were always an extension of the chapters in Parthiban's books since he was a kid. It's no surprise that his themes and characters are primarily inspired by real life and focus on current societal concerns. Even his poorest film cannot be described as uninteresting. Because, the discourse is sharp and caustic, and the treatment is delicate. This is precisely what elevates his films beyond the norm.