Tamil Nadan, infuses the film with much energy, even if the character he plays, shows no signs of weakness or vulnerability. As one-liners, they’re effective and elicit applause, but really detract from the story of the children, and make the film seem like some sort of reformative exercise. Take the scene where a random old man on the street makes the observation that while in the past, the government was responsible for education and private companies for wine shops, the roles are now reversed. In that sense, there’s much, much complaining and preaching, even if sensible. Pasanga-2 also makes a complaint about schools that take in only the smartest, in order to bolster their reputation.
He says that the difference between the schools is that while children abuse in Tamil in one, they abuse in English in the other. In a cute little cameo, Samuthirakani, playing a parent who’s taking his child to a government school, makes a cheeky dig at government school teachers who prefer to admit their children in private schools. And it’s just one of the many social messages in Pasanga-2, which also makes several statements about and chiefly, against the school system.
There’s even more melodrama when Kavin, standing in the middle of the hostel’s campus, looks up, and yells a question at the sky: “Amma, nee enga irukka?” Hostel education is compared to imprisonment that’s not gonna make wardens kinder at all. Eventually, the children get bundled into a hostel, and there’s a striking, even if a tad melodramatic, scene of wailing children, staring desolately through the window of their hostel, as their parents turn back home. Storyline: The lives of two couples are made hellish by their respective childrenīoth Kavin and Nayana are forced to move from school to school by disgruntled principals, who pay no heed to their hapless parents’ pleas. Well, until it eventually succumbs, and when it finally does, there’s little time in which to do justice to the condition, or stress upon its seriousness, as Taare so successfully did.Ĭast: Kavin, Nayana, Suriya, Bindu Madhavi, Karthik Kumar, Amala Paul And it’s quite refreshing that he doesn’t immediately diagnose them with an exotic condition, and for a long period, Pasanga-2 desists from becoming yet another ‘disease’ film. They seem hyper-active, and naughtier than your average child, but as a doctor (Jayaprakash) points out, it’s only natural for them to be so when their routines are devoid of any physical activity, as are most urban children’s. Interestingly though, for the longest time, you’re not really sure if the seven-year-old (well, seven-and-a-half to be specific, which translates to ‘ezhara’ in Tamil) protagonists of Pasanga-2-Kavin (Kavin) and Nayana (Nayana)-are suffering from a disorder at all. They’re both about disorders (here, it’s Attention Deficit Hyperactivity Disorder), they have a chirpy, animated protagonist who totally gets children, there are concerned parents who need to be counselled, and of course, both films make points against conventional teaching methods, and evaluation systems. It’s impossible to resist comparing Pasanga-2 with Taare Zameen Par.
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