Minmini review: Halitha Shameem’s Tamil film celebrates glow of life, and the living
Set in a boarding school in Ooty, the coming-of-age drama about survivor’s guilt is both a sucker punch to the gut, and a soothing balm
Halitha Shameem’s Minmini (glowworm) is visual therapy for a grief-stricken heart. I was looking forward to watching this for two reasons — one, it was about survivor’s guilt, something many of us are carrying around having lost friends to the pandemic; two, it is shot over a period of eight years, with the filmmaker waiting for her cast to grow up to essay their grown-up characters.
The film justifies its long wait time. This is not a film where you encapsulate the story in a paragraph and go on to speak about why it worked. I don’t think Halitha set out to narrate a story, with punchlines and smart editing. She aimed to provide an experience, from the Blue Mountains in the South to the mighty Himalayas in the North, with her characters growing up, accepting loss and figuring out life and living.
Giving back, and living for the other
Helping her very ably is cinematographer Manoj Paramahamsa’s fabulous camera that captures the depths of human emotion, the dreariness of grass-less ridges and the magnificence of the mountains, and Khatija Rahman’s background score. While it soars and respects silences in some places, it does go a little over the board in others. But, giving credit where it is due, she’s created a soundscape very different from her much-accomplished father.
The action begins in an Ooty boarding school. Few people get the boarding school scenario right. It’s usually filled with all things Enid Blyton, but Halitha draws from her lived experience to create a boarding school that’s neither uppity nor dank — it’s just the right shade of moderate. Where students might take part in equestrian championships, but also delight in coconut buns for snacks in the canteen. Where uniforms, teachers and students and wooden desks with things carved in with a divider, are real.
This entire portion was shot eight years ago, way before Halitha made a name with Sillu Karupatti (2019) and Aelay (2021). But you can sense her assured direction, especially in the impishness of Pari (a lovely Gaurav Kaalai, who makes such a mark in just about 30 minutes of screen time), the silence of Sabari (Praveen Kishore) and a friendship that blooms in death. Esther Anil plays Praveena, who is the recipient of a generous gift and struggles to give back and live life for a second person too.
The guilt of the survivor
Survivor’s guilt is a guilt unlike no other; there’s immense grief, the sheer guilt of taking one more gulp of air, and heartbreak over a person’s dreams and desires dying. Some find ways to cope, some run. Sabari runs from it, till he is forced to confront his reality by Praveena.
Pari is the ideal sports star who loves physical activity, the kind of boy who would irritate a newcomer, but also be kind to a rabbit. He’s the kind of friend whose bond begins with rivalry. And Gaurav’s lovely eyes capture him with such nuance, your heart melts for him.
Praveena is the girl with gravitas, a child who has been given a second shot at life, and who respects the fact that she’s received a rare gift. And Esther plays Praveena, who cares deeply for a boy who does not know she exists, and follows him, with empathy, without making it look creepy. Praveena sets out on her bike for a ride along the Himalayas because that’s what Pari wanted to do, and that’s what Sabari is doing. What happens along that journey is a visual experience you will cherish.
Celebrating the small moments
This is not to say Minmini is perfect — some things happen without rhyme or reason. What is the possibility that a PT teacher from Ooty is now an Army personnel in Khardung La? Nivedhithaa Sathish’s character does not do much but to get Praveena to drink and to get Sabari to speak of a friend who has departed. Suddenly, there’s a trek to see a snow leopard. The other group of bikers they meet en route are a chance for Sabari to showcase his ‘protective’ side and macho strength. Halitha did not need these to push forward her story.
Halitha’s writing and filmmaking is all about celebrating the smaller moments. And while she does that quite ably here in the interpersonal interactions and connections, you do sense she’s still a fledgling director from many years ago in some scenes. But it is commendable that she pulled off this time gap in the film with little glitch.
Minmini is not that fast-paced movie that keeps you at the edge of your seat. It is that gentle brook that tempts you to tell it your life story, and lightens your heart in the process. Watch it in theatres for the sheer landscape and heartscape that’s been captured with so much love. You would not want to ever bid goodbye to that easily.