In Ponniyin Selvan, vengeance has a beautiful face and name: Nandini, brought to life by Aishwarya Rai Bachchan. In the first part, she exudes charm with her mystic eyes and wields her beauty as a power to deceive her foes. But the sequel unearths what lies behind the cunning plans: a hurtful past and untold sufferings.
The PS films clearly demarcate Nandini's mesmerising charm on the outside and the flaming rage inside her. Her ever-alluring eyes that mask her hidden wrath — enticing everyone from Aditha Karikalan to Vanthiyathevan in a magical spell — sometimes go wide in shock (when Veerapandiyan is murdered) or lose the charm for chaotic thoughts (when she meets Karikalan). But what makes her devious acts scarier is her calmness. PS, in a sense, then becomes a study of Nandini, who is always clear-headed but has her share of vulnerable moments. This makes her one of the rare female antagonists in Kollywood whose layered personality is crafted with such care that it renders us empathetic towards her even when we are against her deeds.
As we witness one of the most powerful female villains in Tamil cinema slide back into action in Ponniyin Selvan 2, let's look at a few other prominent women antagonists. They might not have brandished swords or conspired the obliteration of a regal dynasty but some of them are minacious in their own ways.
Neelambari in Padaiyappa (1999)
Think of powerful female villains in Tamil cinema and Ramya Krishnan’s Neelambari tops the charts. Born into a rich family, Neelambari is evil, arrogant and insensitive to others' feelings, especially of her employees. And when she falls in love with Padaiyappa (Rajinikanth), she wants to marry him at all costs. But when that fails, her obsession pushes her to crazy limits as she locks herself up in a room. And 18 years later, she walks out as an unscathed personification of obsession and entitlement, and begins plotting her revenge.
In the film, she keeps expressing her toxic admiration for Padaiyappa’s style. Remember the iconic dialogue “Vayasaanalum, un alagum styleum maarave ila”? And the same goes for her. Neelambari oozes style in every frame; her attitude and malevolent eyes set the benchmark for female villains in Tamil cinema.
But even the greatest female villains of all time is a victim of the film’s patriarchal ideas. Neelambari is a progressive woman — she is educated, dresses by her choice, and knows what she wants. When she desires a man, she tells him directly. But the film uses these attributes to portray her in a negative light. Think of why Padaiyappa rejects her. Not because she is evil but because she doesn’t “behave like a woman”. He preaches to her how women should be calm and patient, not authoritative or easily angered. And rejects her saying, “Mothathula pombala na pombala maari irukanum.”
Sornaka in Dhool (2003)
There are fictional villains you despise and some whom you fear. But there are a few rare ones you admire from afar — whose swag, expertise and charm intrigue you. And Telangana Shakuntala’s Sornam, famously known as Sornaka (Sorna akka) in Tamil pop culture, fits in the third category. A local goon in the film, Sornam who deals with one too many illicit activities crosses paths with Arumugam (Vikram). Before you get to see her ever-angry face, you are always introduced to the tattoo on her hand that reveals her name. Possessing a deep voice, a dominant attitude, and numerous weapons, her villainism is scary but her local swag and the theatricality of her performance are entertaining to watch.
Geeta in Vallavan (2006)
It is all lovey-dovey for high school lovers Geeta (Reema Sen) and Vallavan (Silambarasan) until she starts suspecting the honesty in Vallavan’s love and grows possessive. She makes him prove his love by cutting his hand and cleaning her shoes. Even when Geeta talks about love, her words feel like threats, requests are orders, and “eye contact”, which is supposed to be romantic, gets scary. On the surface level, the writing and Reema Sen’s wonderful performance take us through what a toxic relationship would look like.
But dig a little deeper, and you understand the usage of the “mad ex-girlfriend trope”. Not that depicting a woman as someone who is possessive, self-centered and aggressive is wrong. But it's contrived when such a woman is merely included in the film to drive the plot forward. Geeta is introduced quite late in the film, in a flashback. We also never get to understand where Geeta’s rage comes from. Although the film suggests that she needs therapy, it comes across as mere addition towards the closing minutes of the film. Geeta is then reduced to a one-note villain and the note is that she is “crazy”.
Geetha in Pachaikili Muthucharam (2007)
My admiration for Jyothika in Pachaikili Muthucharam increases every time I rewatch this film. She plays Smitha aka Geetha. Everything about Jyothika’s Geetha — her big, bright bindi, kohl-rimmed eyes, love for sarees and her tone of voice, that’s sweet and caring yet firm and rational — reminds you of her Maya in Kaakha Kaakha (2003). But the practical and kind approach that hints at love in the latter serves as a cloak to carry out her plans in Pachaikili Muthucharam.
Venkatesh (Sarath Kumar), a married man, is attracted to Geetha. When they visit a resort one day, they get trapped by a man who blackmails them for money. Venkatesh keeps paying him until he finds out that Geetha is his partner in crime. At first watch, you do not predict Geetha’s transformation for a long time; you are just too engrossed in this illicit relationship that’s also soothing and beautiful, thanks to Harris Jayaraj’s ‘Karu Karu Vizhigalaal’. But in a re-watch, her calculated moves and schemes are palpable. And it’s fascinating to see how the camera angles and Jyothika’s subtle actions tell a different story once you know the twist.
Eswari in Thimiru (2006)
Like Sornaka, Sriya Reddy’s Eswari in Thimiru is one of the most loved villains in Tamil cinema. The term “Thimiru” in the title alludes to Eswari’s arrogance as much as it signifies the journey of Ganesh (Vishal). A cocky moneylender, Eswari finds pleasure in tormenting the families who fail to repay the debt. As she screams “Elaayyy” and “Isuku” at the top of her lungs, Eswari’s style and Madurai slang, along with Yuvan Shankar Raja’s music underscore her cold-blooded nature. So what happens when Eswari falls in love with Ganesh? She kidnaps his parents and blackmails him to marry her, but her plans go down the drain.
However interesting is Eswari’s character arc, it is sad to see how these female villains engage in the same act of forcefully removing other women’s sarees in public or spewing inappropriate sexual comments — which makes one wonder if it is patriarchy screaming in the guise of female villains.
Deepa in Adhe Kangal (2017)
Adhe Kangal opens up with a love triangle where two women — Sadhana (Janani) and Deepa (Sshivada) — love a blind chef, Varun Murali (Kalaiyarasan). But when he gets back his eyesight, the film takes a different track. Cut from the same fabric, Deepa is to Adhe Kangal what Geetha was to Pachaikili Muthucharam. Sshivada as Deepa radiates a beguiling charm, often with her innocent smile and fake vulnerability. But when her mask wears off and Deepa reveals her bold and conniving avatar, the film packs in some interesting twists and thrills.
Anitha Pandiyan in Aayirathil Oruvan (2010)
Aayirathil Oruvan has three people — Muthu (Karthi), Anitha Pandiyan (Reema Sen) and Lavanya Chandramouli (Andrea) — go in search of the secret land of the Chola group who went into hiding 800 years ago, taking along an idol sacred to the Pandyas. The fantasy drama initially follows the trio's adventure to find this secret land, but it is when they finally meet these Cholas that the real motives of the three people come to light.
While Muthu is the Chola messenger, Anitha Pandyan, as the name suggests, is a descendant of the rival Pandyas. But she disguises herself as the Chola messenger to kill them and take back their idol. The whole film plays like a trance, and you get to connect the dots when Anitha’s identity is revealed. Watch out for the adrenaline-pumping scenes where she announces that she belongs to the Cholas and the other, in which she cunningly manipulates the Chola King.
Gadgi in 10 Endrathukulla (2015)
Samantha plays a dual role in 10 Endrathukulla. While one of her characters falls into the “cute loosu ponnu” (nutcase) category, the best of her acting is saved for the climax of this middling action entertainer. And Samantha plays a menacing role as Gadgi Moi, an upper-caste leader who is sentenced to death for killing many lower-caste people. Consumed by the craze for authority and power, she is even ready to kill her own grandmother. Her crooked and sarcastic smile and a few glimpses of her actions are enough to establish her heartless nature. While it promises Samantha’s range to play a negative role, Gadgi’s scenes hardly account for 10 minutes of the film’s runtime. And that’s exactly why Gadgi deserves a spin-off.
Rudra in Kodi (2016)
Rudra (Trisha) is an ambitious politician who takes the wrong route to power. Yet the film captures her wish to scale up the political ladder positively for the most part. Even in her relationship with Kodi (Dhanush), her secret lover and a member of her rival party, the film establishes her agency. So, when we see her passion for politics change into lust and frenzy, the transformation is sudden yet organic.
It is also why when she kills her own lover, regret and incredulity (of her own actions) reflect on her face for a flick second before her lust for power gets the better of her. And we get to see the best of both Trisha and her character Rudra in this scene. From then on, Rudra goes on to lead two different lives, of a successful politician and a murderer who is trying to cover her tracks.
Komalavalli in Sarkar (2018)
Varalaxmi Sarathkumar’s Komalavalli in Sarkar is one of the few exceptions among female villains — who are often portrayed as women obsessively trying to win a man’s love or scheming ways to disrupt a family. Winning comes first for Komalavalli, the daughter of Tamil Nadu’s Chief Minister who is settled abroad with her husband. In her initial scenes, you see how lovingly she cares for her father. The film also establishes that even if she is seas away from the state, what she says is an order that her father and his political party unquestioningly abide by.
But when the CM position is under threat, she not only plans to take down her enemy (Vijay) but also doesn’t hesitate to kill her own father. Two hours into the film is when she finally arrives at TN, yet her threatening presence is always felt through the acts of her party members, or let’s say her puppets.
Pechi in Sandakozhi 2 (2018)
Sandakozhi 2 makes very less use of Varalaxmi Sarathkumar’s acting skills. She appears to be in her comfort zone, the leading woman of a gangster group — this time, taking the lives of the men belonging to the rival clan. Her story is scary because Anbu is the only man left alive, who is supported by Balu (Vishal). But there is only so much her attitude, loud screams and backstory can add. Pechi is then reduced to a mere one-note villain who is scary and powerful but ends up losing to the hero.
Dr Madhumitha in The Legend (2022)
Dr Madhumitha is a microbiology student who joins scientist Saravana in finding medicine to cure diabetes. At first, she comes across as an obsessive fan who wants to work with her idol. Only when they find the medicine does she reveal her true colours — the heiress of a corporate empire that wants to make a profit selling the medicine. In a laughably generic thriller, Urvashi Rautela as Madhumitha is largely convincing as the villain, operating in a zone with a tone that's true to the film — that is until the climax where she is made to look like a fool.
Renuka in Aanandam (2001)
Aanandam is a family drama about four brothers and how they manage to live together. It is one of the films that has inspired many television serials of today’s times. So, like in serials, Rambha’s Renuka, the second brother’s wife, feels her husband is ill-treated in the family and persuades him to start a new business. Sharp-tongued and belligerent, she always ends up inciting bigger conflicts within the family.
Yet her shrewdness is restricted to her straightforward arguments and certain unrealistic (in the eyes of patriarchy) demands. She is not depicted as a person who wants to separate the family, which is usually the case with such plots, like in Samudhiram (2001). Such dramas also show the stereotypical portrayals of women — the goddess of the house who is also sacrificial (the protagonist) and the short-tempered woman who is always self-centered (the antagonist).
Bhanu in Parthen Rasithen (2000)
How far will you go for love? Simran’s Bhanu goes to the extent of forcing her best friend Shankar (Prashanth) to marry her because she has been secretly in love with him. When Shankar learns about her true feelings, they have a heartfelt conversation. “Everything is fair in love and war,” Bhanu tells. Even when Shankar feels betrayed, he patiently listens and advises her as a best friend.
Bhanu is torn between accepting the fate that Shankar doesn’t love her back and finding a crazy way to marry him. In the same scene where she confesses, she goes from casually talking and weeping to yelling like a maniac. In an author-backed role, Simran brings in so much emotional variance to her character that you despise her when she tortures Shankar’s lover, and ten minutes later, when she cries in despair, it tugs at your heartstrings.