What arguably puts “Ponniyin Selvan: Part 2” over the top, as an overburdened sequel to a long-gestating adaptation, is Ratnam’s characteristic visual acuity, his co-writers’ careful attention to detail, and his mega-watt ensemble cast’s performances.
In “Part I,” Vallavairyan embodies the Byzantine, freely-associated story-telling traditions that clearly inspired both Ratnam and his two Tamil-speaking co-writers. Vallavaraiyan, an itinerant fabulist, zips around “Ponniyin Selvan: Part I” without a formal invitation he negotiates facetime with various high-powered characters using token favors-a sword, a signet ring, and hand-written messages-and effectively unites the many threads of Krishnamurthy’s sprawling narrative. There’s more Nandini in “Ponniyin Selvan: Part II,” and a lot more supporting characters who either support or defy her, like the Chola chieftains who not-so-secretly back Madhuranthakan, or the Chola princes’ many advisers, like their sister Kundavai ( Trisha Krishnan) and, oh yeah, Vallavaraiyan Vandiyadevan. Everybody suspects Nandini of scheming to betray her husband-and also murder Aditha, who also suspects and has romantic tension with Nandini. Anyone who hasn’t read the book, but still wants to see “Ponniyin Selvan: Part II” on a big screen should know that “Part I” was more about the itinerant Vanar prince Vallavaraiyan Vandiyadevan (Karthi) than the beloved title character (Jayan Ravi)-a nickname for the 10 th century Chola dynasty Prince Arunmozhi-or his hothead older brother Aditha (Vikram).Īrunmozhi and Aditha necessarily take more central roles in “Ponniyin Selvan: Part II,” and so do the other main subjects of “Ponniyin Selvan: Part 1,” like the princes’ troubled and presumed wicked stepmother Nandini ( Aishwarya Rai Bachchan) and their treacherous rival Madhuranthakan (Rahman). Some good news, which is also bad news: many viewers have probably already read Krishnamurthy’s popular epic, which was originally serialized in “Kalki” magazine throughout the early 1950s. You can’t enjoy “Ponniyin Selvan: Part II” without having already seen “Ponniyin Selvan: Part I,” not unless you’ve read Krishnamurthy’s books.
Adapting “Ponniyin Selvan” has been a dream project for a few Indian filmmakers, including writer/director Mani Ratnam, who’s best known to American cinephiles for helming the epochal 1998 Bollywood romantic drama “Dil Se.” Ratnam has also admitted that his two-part version of “Ponniyin Selvan” could not have been made without the inspiration and success of “Baahubali.” It’s easy to see why based on “Ponniyin Selvan: Part II,” a sequel that, like Rajamouli’s “Baahubali: The Conclusion,” often feels like an involved-but-satisfying de-escalation of the first movie’s dramatic tension.
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