The first Tamil film I ever reviewed on this blog was a suspense thriller, the excellent songless film Andha Naal. Since then, I’ve come across recommendations for other Tamil suspense films, and when I found a subtitled copy of this one—a major hit of its time—I was eager to watch. ‘Taut’ and ‘tense’ was how I’d seen it described by reviewers, and it sounded right up my street.
Adhey Kangal begins in a tense, suspenseful manner. A man is murdered—someone hangs him in his room—and the man’s wife (G Sakunthala) discovers her husband’s dead body. She has just about started screaming when the murderer (whom we do not see, except as two disjointed hands reaching for her) tries to strangle her.
It’s an aborted attempt: the murderer flees, and his would-be victim, shaken and traumatized, but not dead, is discovered by her family.
I had read a review of this film on a blog years ago, but besides the fact that it starred Prithviraj Kapoor as the father-in-law of three women, I remembered nothing of what I’d read. Then, some weeks back, when Shashikala passed away, a couple of people remembered her role, as a popular film star, in this film. I was tempted to watch it.
The teen bahuraniyaan (the three daughters-in-law) live in one rambling house along with their husbands, their children, and their father-in-law Dinanath (Prithviraj Kapoor)a retired school teacher. The patriarch’s three sons, from eldest to youngest, are Shankar (Agha), Ram (Ramesh Deo) and Kanhaiya (Rajendranath). Appropriately enough, their wives, respectively, are Parvati (Sowkar Janki), Sita (Kanchana) and Radha (Jayanthi). Sita’s sister Mala (Vaishali), who’s come to town to do college, also lives with them.