Despite the Dowry Prohibition Act being in place since 1961, the practice of dowry continues to thrive, with 13,479 cases and 6,450 dowry-related deaths reported in 2022 alone, according to the National Crime Records Bureau (NCRB). As the direct exchange of cash raises legal concerns, many families turn to gold, masked as “gifts” to satisfy societal and in-law expectations. But for lower-income and middle-class families, the rising cost of gold presents a near-impossible financial burden. What happens when they resort to debt to meet these demands, and how long before they are overwhelmed?
Ponman, the directorial debut of renowned art director Jothish Shankar, delves into this complex issue. The film is based on GR Indugopan’s novella Naalanchu Cheruppakkaar and explores the lengths a family goes to when faced with the impossible task of acquiring 25 pavan (sovereigns) of gold for a wedding. Set in Kollam, Steffi Graf (Lijomol Jose), a woman in her early 30s, struggles to arrange the dowry while her family battles financial ruin. With her brother Bruno (Anand Manmadhan), a leftist without stable income, turning to unreliable methods for help, they find themselves entangled with PP Ajesh (Basil Joseph), a gold agent with dangerous terms.
The tension escalates when Steffi’s refusal to return the borrowed gold sets off a chain of deceit, desperation, and power struggles. Ponman offers a gripping narrative that highlights the harsh realities of dowry, but it also raises critical questions about how films can subtly reinforce harmful ideas, despite their technical brilliance and strong performances.
Read also: