Review: Lenin Pandiyan
Film: Lenin Pandiyan
Cast: Gangai Amaran, Roja, Dharsan Ganeshan, Shrrita rao, George Maryan , Aadukalam Naren, Yugendran, Bose venkat , Archana Ravichandran
Produced by Sathya Jyothi Films – TG Thyagarajan Presents
Music: Isaignani Ilaiyaraaja
Written & Directed by: DD.Balachandran
Director of Photography : A.M.Edwin Sakay
Art Director: Athuuri Jeykumaar
Editor:Nagooran Ramachandran
Rating: 3 stars
Lenin Pandiyan: A Brilliant First Half Let Down by Its Climax
Synopsis: Gangai Amaran and Roja are an elderly couple who are deeply in love and content living their lives tending to their farm and goats. Gangai Amaran has a goat named Meenakshi and he loves her like his own daughter. Life is peaceful until one day, the goat is run over by a lorry indulging in the smuggling of sand from the river bed. Gangai Amaran lodges a complaint to the police who are hand in glove with the powerful sand mafia there. Initially, he is mocked and humiliated by the cops but after the murder of a VAO, a case is filed and it reaches the court, which appoints Dharshan Ganeshan, an honest constable in the police force, as his body guard. What happens then is what the film is all about…
Lenin Pandiyan is a film that gets many important things right, particularly in its first half. Director D D Balachandran deserves considerable appreciation for the way he has put the film together, and especially for getting the casting 100 per cent right. The actors feel perfectly suited to their respective roles, adding authenticity and weight to the narrative.
One of the smartest casting choices is George Maryan as the judge. His portrayal of a judge with a conscience gives the character a quiet dignity, while the writing uses him to make an important point about the purpose of law. The film underlines the idea that the law is meant to protect the poor and vulnerable, not become a weapon used against them. It is a pertinent thought, and George Maryan brings the right amount of restraint and conviction to the role.
There also seems to be a deliberate thought behind casting George Maryan as the judge beyond his performance abilities. His physical appearance becomes an interesting tool through which the film touches upon body shaming and our tendency to form judgments based on appearances. The character serves as a reminder that appearances can be deceptive and that a person’s wisdom, integrity and compassion cannot be measured by how they look.
The veteran actors Gangai Amaran and Roja also deserve praise for delivering neat and dependable performances. Neither attempts to overplay their parts; instead, they bring the necessary maturity and credibility to their characters, contributing to the film’s grounded tone.
A special word, however, must go to Dharshan Ganeshan, who makes an impressive debut. He delivers a promising performance and shows considerable potential. There is an ease and sincerity to his screen presence that makes him someone to watch out for. For a newcomer, he makes a strong impression and gives every indication that he has a lot more to offer. It is a praiseworthy debut, and Dharshan Ganeshan clearly shows a lot of promise.
On the technical front, Ilaiyaraaja’s music is a mighty big plus. It amplifies the emotions being conveyed on screen a hundred times over. The music, the background score in particular, reminds one of the genius Ilaiyaraaja that we once knew.
The first half, in fact, is where Lenin Pandiyan is at its strongest. The writing, casting and performances come together beautifully, creating the expectation that the film is building towards something substantial. There is enough substance in the story and enough strength in the characters to make you believe that the film could eventually become something truly memorable.
Unfortunately, that promise is not fully realised. The climax is the film’s biggest letdown. After such a strong build-up, the conclusion doesn’t have the impact one expects, and the manner in which the story is brought to an end feels like a missed opportunity. The climax ultimately stops Lenin Pandiyan from achieving its true potential.
That is what makes the film particularly frustrating. There is clearly a lot to admire here — Balachandran’s casting, George Maryan’s wonderfully conceived character, the performances of Gangai Amaran and Roja, and the promising debut of Dharshan Ganeshan. Most importantly, the film has ideas worth engaging with. But the climax doesn’t quite do justice to everything that has been established before it.
Lenin Pandiyan is therefore a film with a brilliant first half, a fantastic background score, excellent casting and several commendable performances, but one whose impact is significantly diminished by its climax. Had the film managed to find an ending as strong as its beginning, it could have fulfilled the considerable promise it shows along the way.
