‘Ponniyin Selvan: Part One’ Review: Promising Tamil Franchise Kicks Off With Faithful Take on a Literary Classic

Tamil filmmaking legend Mani Ratnam takes on the formidable task of adapting Indian bestseller “Ponniyin Selvan” as a two-part epic, the first of which released to excellent box office at home and abroad on Sept. 29. Streamlining the source material considerably, this impressive franchise starter — co-written by Ratnam, Jayamohan and Kumaravel — remains mostly faithful to Kalki Krishnamurthy’s five novels, first serialized in the 1950s in the Tamil magazine Kalki before being translated into multiple other languages, including English.

The books were based on the great ruler Raja Raja Chola (Chola, king of kings), who expanded his empire from modern-day Tamilnadu all the way north to the Ganges. Set to the music of Oscar winner A.R. Rahman (“Slumdog Millionaire”), “Ponniyin Selvan: Part One” boasts great battles on land and sea. The spy-vs.-spy nature of the story suggests a 12th-century Bourne movie, interspersed with song and dance.

In the 11th and 12th centuries, Southern India was ruled by the Cheras, Cholas, Pandyas, Pallavas, Hoysalas and other dynasties. The film opens with the Chola crown prince Aditha Karikalan (Vikram) and his army being victorious on the field. Aditha sends his faithful aide, Vallavaraiyan Vandiyadevan (Karthi), to see what is happening in his father’s palace where Chola chieftains are gathering for a secret meeting.

Vandiyadevan soon falls in with a religious man, Azhwarkadiyan Nambi (Jayaram), another spy who also provides some comic relief. Together, they discover a plot to take the crown from the ailing king Sundara Chola and give it to his nephew, who had been passed over. Among those trying to use Vandiyadevan is the beautiful Nandini (Aishwariya Rai Bachchan), who uses her looks to get her husband, commander Chinna Pazhuvettariyar (R. Parthiban).

Things get more involved as the film goes along, of course, but Ratnam keeps the different strands moving at a fast enough pace so that you don’t notice the nearly three-hour running time. Nor does it matter that the titular Ponniyan Selvan doesn’t make an appearance until nearly the intermission. When he does show up, the younger Chola prince, Arunmozhi Varman (Jayam Ravi) — known as Ponniyin Selvan because he was saved from drowning in the Ponni river (aka Cauvery) — displays his skills for charm and diplomacy. There is a mother figure who rescues him each time he is in danger of the water.

When he does show up, the younger Chola prince, Arunmozhi Varman (Jayam Ravi) known as Ponniyin Selvan because he was saved from drowning in the Ponni river (aka Cauvery), shows his charm and diplomacy. There is a mother figure who saves him each time he is in danger of the water.

DP Ravi Varman does justice to the sweep of the story, while CG battle scenes are staged like set-pieces from the “The Lord of the Rings” trilogy, a comparison underscored by Rahman’s soaring music. The below-the-line work is top-notch throughout — not just with camera and music, but also in the production design (Thotta Tharani). The Cholas were famous for the temples they built, with the Thanjavur temple standing even now as a testament to their artistry.

Augmented with excellent visual effects, sets representing the city of Thanjavur, the new city of Kanchi and Sri Lanka, bring to life Kalki’s prose that enchanted so many readers. Similarly fine attention to detail went into the costume design, hair and makeup, as well as the jewelry (pieces of which are now offered on sale) for not only the princes and other nobles but also the ladies from Nandini to the princess Kundavai (Trisha Krishnan).

Ratnam has always had a knack for drawing out the best performances from Rai Bachchan (with whom he collaborated on “Iruvar,” “Guru” and “Raavanan”), doing so once again in the star’s first screen role since 2018, even if her dialogue is spoken by Deepa Venkat. In the role of Vandiyadevan, Karthi brings exuberant action to the film; Ravi charms as Arunmozhi; and Vikram and Parthiban exhibit dangerous intent. Rai Bachchan is suitably scheming, as is Krishnan as the princess who only cares about the Chola kingdom and is jealous (with reason) of Nandini’s beauty and ability to beguile.

The film ends on a cliffhanger. While not yet shot, Part Two has been announced and is expected to be released in 2023.

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