When cinema avoids pandering to the gallery and instead explores its vast horizons, resonating deeply with us, it creates an ethereal experience that transcends the limitations of mass appeal. It elevates storytelling into a true art form.
Cinematographer-turned-filmmaker C Prem Kumar though only has directed three films in his career so far- 96 (2018), Jaanu (2020), the Telugu remake of 96, and Meiyazhagan (2024)- he, however, has already shown that simplicity can yield deeply resonant stories that leave a lasting impact.
His films reveal how a careful, understated approach can bring profound depth to the screen, drawing audiences in with intimate portrayals of ordinary lives.
His characters feel like people we encounter on the street or on public transport, facing relatable struggles that are rooted in real-life challenges.
Nostalgia For Bonding And Companionship
In 96, the story centers on high school students Jaanu (Trisha) and Ram (Vijay), who fall in love in the 10th standard, only to reconnect 22 years later at a reunion, rekindling memories of their shared past.
In Meiyazhagan, Arul (Arvind Swami) returns to his hometown of Needamangalam near Thanjavur after 22 years to attend his cousin Bhuvana’s wedding.
During his stay, he encounters a stranger (Karthi) and ends up spending the night with him before catching the first bus to Madras in the morning.
The stranger had spent memorable moments of his childhood with Arul, but Arul couldn’t remember them.
In both films, nostalgia serves as a powerful backdrop, enabling characters to reflect on the passage of time and the enduring impact of past connections.
Kumar’s storytelling approach also demonstrates that powerful narratives don’t need grand gestures to leave a lasting impact.
He uses nostalgia as a storytelling device to thrive in subtle, heartfelt moments that resonate deeply with viewers. This helps the films capture emotions in a way that feels both intimate and universally relatable.
The Pure Essence Of Connection
Both 96 and Meiyazhagan delve into the bittersweet emotions of two people reconnecting after years, with the key events largely unfolding mostly within the span of a single night.
The limited time the characters share with one another captures the subtle nuances of their bond.
In 96, we quickly understand Ram and Jaanu's school-day feelings—Ram is shy, Jaanu is outgoing—and their dynamic remains the same when they meet years later. The film poignantly reveals the helplessness and pain of realizing that some things in life didn’t go as planned.
Whereas, in Meiyazhagan, the characters engage in long, meandering conversations that might initially seem like stretches of nothingness, but they ultimately land the emotional punch.
We become fully immersed in the film and its emotions.
Further, the relationship between the characters in both films blossoms and brought to life through the organic performances of the principal characters.
Childhood In Shaping Memories
Our childhood memories play a crucial role in shaping our lives, leaving a bittersweet imprint that influences our values, relationships, and self-perception as we grow into adulthood.
Kumar demonstrates his expertise in drawing touching narratives from such moments, weaving them into the plot-points of his films.
In 96, Ram and Jaanu, as school students, could never openly express their love for one another, resulting in an unrequited love that lingers.
As they reconnect, neither Ram hopes that Jaanu will change her life for him, nor Jaanu, in turn, isn’t looking for any kind of rescue from the fleeting moment.
They simply want to spend time together, talk, and gain the closure they’ve both missed for 22 years.
Meanwhile, in Meiyazhagan, Arul's childhood and teenage years in his village have profoundly shaped his persona. Even two decades after leaving his ancestral home, the impact remains.
For the stranger who spent summer holidays with Arul, memories of those days only deepen his respect for Arul. The bicycle left behind by Arul played a key role in shaping the confidence of the stranger as a young boy.
The Narrative Power Of Music
In Kumar’s films, music is used as an emotional tool rather than crowd-pleasing filler. Each song is thoughtfully placed to amplify the mood, adding depth without overshadowing the narrative.
In 96, “The Life of Ram” opens with a montage that reflects the protagonist’s solitary lifestyle. “Anthaathi” injects energy as the two childhood friends reconnect, while “Kaathalae Kaathalae” captures the love that remains unspoken between them.
Similarly, Meiyazhagan uses “Arul Mei” at the start and “Yaaro Ivan Yaaro” later to convey Arul’s internal conflict and pain, evolving across different circumstances and stages.
Kumar’s films exemplify how cinema can restore faith in dramatic storytelling and deliver profound narratives without excess.
His work is worthy of appreciation for its subtle yet powerful portrayal of human connections. It is high time for discerning viewers, who appreciate cinema beyond the lowest common denominator, to engage with his films.
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Dipankar Sarkar is a film critic who contributes to different publications- both national and international. He is a Research Fellowship from the NFAI, Pune, India, and was one of the panelists for the selection of world cinema at the 27th International Film Festival of Kerala in 2022.
