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From: Venkatesh
Date: 22 Nov 1999
Time: 15:30:09
Remote Name: 144.163.254.27
Hi All,
Posted below is a review of the malayalam movie 'Vanaprastham' from The Hindu. It looks like it is one of those films that put our kochu Keralam in the International scene. My request is to the organizers of malayalam cinema in Denver to screen this movie. Thanks. Now enjoy a review.
Cinema Review: Vanaprastham
``Vanaprastham''
MANY, INCLUDING successful directors of mainstream films call him the Gerard Depardieu of Indian Cinema. For many others, he is a lot like the explosive Robert De Niro. But in ``Vanaprastham,'' Mohan Lal, transcends all barriers set by such comparisons.
The role of a Kathakali artiste he plays in the movie showcases his most memorable performance so far. It packs an entirely new range of skills of this tremendously gifted actor that is rarely seen in Indian cinema. Of course, he has been extremely versatile even in the roles he played in mainstream films, but Kunhikuttan, his role in ``Vanaprastham'' presents a totally new face of the actor. He is piercingly intense, poignantly subtle and extremely emotive.
``Vanaprastham'' is cinematographer-turned-director of international repute, Shaji N. Karun's third feature film. Like his previous films, ``Piravi'' and ``Swaham,'' this one too has made its appearance at Cannes and has just started doing the rounds in the International film festival circuit. It was just featured in Korea and is on its way to Hawaii, London...
In terms of both content and form, ``Vanaprastham'' is brilliant and to use a cliche, ``poetry in motion''. The theme is multi- layered and the exposition, extremely cinematic. There are no gimmicks, no fast cuts or the taxing tools usually used by the directors of this genre. Still, it comes out as a technically superior product that often even the commercial films fail to achieve with all the money and the hoopla.
``Vanaprastham'' breaks out of the mould of the ``art'' or ``serious'' cinema and there is a reason for this technical superiority. Shaji was blessed with a luxurious budget (the film is an Indo-French venture and is produced by Euro American Films and the Chennai-based Pranavam Arts) an international crew (photography by Renato Berta and Santosh Sivan, Art by Prakash Moorthy, Music by Zakir Hussain and editing by Sreekar Prasad) and brilliant performers including the mainline actress, Suhasini.
The story is set in the late 1930s. At the age of 10, Kunhikuttan begins Kathakali practice with a leading guru. At about 18, he is forced into a perpetually unhappy marriage with Savithri. He rises in stature as a Kathakali performer even as his life, like that of many practitioners of true art, continues to be in penury and utter misery. At a special performance in the Royal Palace, Subhadra (played by Suhasini), the niece of the then Diwan, sees him and falls instantly in love with ``Arjuna,'' the epic character he plays. Erudite, but confined to the walls of aristocracy and high-society life of those days, she fails to differentiate between reality and fiction, and truly believes that the ``Arjuna'' within the costume of Kunhikuttan is destined to be hers. She even believes that her name is predestined. Kunhikuttan realises late that she is not in love with the poor man he is, but the valiant and masculine Arjuna that he portrays.
She shuns him and does not even allow him to see the child born out of her attraction for him. Kunhikkuttan is trapped between artistic success and personal tragedy or tragedies on both fronts.
But when Subhadra comes to the real world, it is too late.Though the storyline might appear simple, the film is not. It has several intricately overlapping layers with strong socio- political and emotional overtones. For instance, the personal tragedy of Kunhikuttan. He is an untouchable to his Namboodiri father though he craves for the latter's affection all through his life. On the other hand, he is also denied the right over his son though he pines for him. Similarly, his rendition of ``Subhadraharanam,'' the play written by Subhadra, along with his daughter. He plays Arjuna and his daughter plays Subhadra.
``Vanaprastham's'' photography is a rarity on Indian screen. Measured use of diffused light, compelling shots and poetic movements add to its well-crafted structure which offers brilliant moments of cinema. See, for instance the way the father knows his forbidden child's growth. The ball that bounces down the stairs when he was small, becomes a paper- plane, when he becomes a boy. Similarly, the communication between Subhadra and Kunhikkuttan through ``mudras''. One also does not miss the Tarkovskian images like droopy landscapes, rain and elements like water and earth that are the regular feature of Shaji films.
Mohan Lal is amazing, Suhasini brings out one of her best performances while all others, many of them Kathakali performers and first time actors, make their characters genuine.
And one cannot overlook the technical quality. By Shaji's own admission, the Panavision camera and top-of-the-line lenses have made a difference. And for the first time, one also sees the ``Dolby'' brand of sound and the credits in a way that is seen in international cinema, in this genre of a movie.
G. PRAMOD KUMAR