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An Enquiry Into the Film Narratives of Adoor Gopalakrishnan

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An Enquiry Into the Film Narratives of Adoor Gopalakrishnan Asian Review of Social Sciences ISSN: 2249-6319 Vol. 8 No. S1, 2019, pp. 96-100 © The Research Publication, www.trp.org.in Remapping the Visual Contours: An Enquiry into the Film Narratives of Adoor Gopalakrishnan Simi Varghese Associate Professor, Department of Journalism, Prajyoti Niketan College, Thrissur, Kerala, India E-Mail: [email protected] Abstract - Adoor Gopalakrishan has been the greatest film the screen into various frames. The ambience has been director who had elevated Malayalam film to the level of artificially created in the studio. The concept of screen play World Cinema. Truly, he is the master craftsman of Indian has also been unheard of in the film world. Earlier, screen cinema second only to Satyajit Ray. He had discovered the play writers were known simply as ‘creators of dialogues’. identity of Malayalam through his visual narratives. He had The scripts of drama were much alike the screen plays of metamorphosed each film as an experience and eked out a new visual repertoire for Malayalam films. Hitherto, no serious films. The live enactment on stage has been named as study has been conducted to absorb the visual magnificence of drama and when it is shot by a movie camera and exhibited Adoor films. Concerted efforts have been initiated in other in the theatre, it becomes a film. An experimental film Indian languages and world languages to trace the visual which appeared at that time was ‘Newspaper Boy’ (1995). dynamics employed in Adoor films. When foreign film critics The first malayalam film which had shown the approach his films seriously, even today we often falter to repercussions of ‘Italian Neo-Realism’. It is doubtful that imbibe the film sensitivity and culture kickstarted by Mr the open manifestations of Italian Neo-Realism like ‘Rome Adoor Gopalakrishnan. Still, he is the ‘unravished fragrance’ Open City’ or ‘Bicycle Thieves’ have been seen by the of Malayalam film industry. Adoor has been truly one of the people who were behind the curtain of ‘Newspaper Boy’. masters of world cinema and had carved a special niche for him in the global film map. My paper tries to portray the new ‘Pather Panchali’ of Satyajit Ray has also not been released visual fervor inculcated by Adoor films in the Malayalam at that period of time. psyche and will unravel the subtle nuances which deeply touch the labyrinthine milieu of Malayalam film world. Malayalam filmdom witnessed new sensibilities and Keywords: Visual Repertoire, Labyrinthine Milieu, vibrations in the beginning of the seventies. Film language Metamorphosis. has been experimented first in ‘Olavum Theeravum’ which appeared in 1970. The film invented that a movie should I. INTRODUCTION communicate through visual modules or frames. The screen plays of Mr M T Vasudevan Nair had focused more on The Malayalam film history can be divided as before and visual narratives unlike the early screen plays. ‘Olavum after ‘Swayamvaram’. It had gone to hibernation during the Theeravum’ has been a relief as Mr P N Menon is known silent era (1928-31) and the long sixty years which for his media awareness. But the melodramatic exposition followed. Nobody could realistically imbibe the spirit of of the story and the mediocrity of the acting sequences have Malayalam films and was existing in a dormant stage. negatively influenced the ‘visual culture’. ‘Swayamvaram’ Films had reached India within months after its invention. (1972) has been the first malayalam movie which had When world cinema embarked on an entourage to communicated through its visual language. ‘Swayamvaram’ experiment with the visual smorgasbord extended by films, has also been acclaimed as the first screen play with Indian filmdom appeased their hunger by traditional structural excellence. (Madhu Eravankara) The years spent devotional films and a few socially orchestrated movies. in Pune Film Institute and the visual cultures imbibed by During the fifties, the true Indian cinema was released in watching world classics have equipped Adoor to imbibe the Bengali by Satyajit Ray. Close on the heels of Ray films, new visual culture. Swayamvaram had given the clarion Ritwik Ghatak and Mrinal Sen had discovered the new call that a film should communicate through visual frames prospects of films. In 1989, ‘Bhuvan Shome’ by Mrinal and not through dialogues alone. During the mid-sixties, Sen inaugurated the New Wave Film Movement in India. Adoor Gopalakrishnan had formed the ‘Chitralekha’ Film The impact of ‘screen’ has been an evergreen phenomenon Society which provided film buffs a new opportunity to of Malayalam films. At a time when musical dramas have view world classics. The visual phantasmagoria unraveled been ruling the roost, the growth of malayalam films was an by world classics helped the malayalee film directors to offshoot of the new visual sensibilities. Initially, actors and comprehend the plight of malayalam films. Film Society actresses were enacting their roles by singing songs. Film Movement had given birth to a new genre of film world banked on actors and actresses with singing prowess. aficianados with new film sensibilities. Many young film The films had grown through dialogues and the visuals directors were ready to venture out and follow the enhanced its appeal. No screen play writer or director has challenging track initiated by Adoor Gopalakrishnan. The been fully aware of the semantics and visual grammar of the films of the seventies employed the true language of the silver screen. They had simply transformed the ‘space’ of ARSS Vol.8 No.S1 February 2019 96 Remapping the Visual Contours: An Enquiry into the Film Narratives of Adoor Gopalakrishnan films. Technologically too, good films have appeared on the other. The memories begin with the owner of the tea shop scene. Commercial films too have started communicating who is not very close to Sreedharan and ends with his own through the film medium. The scene got animated with the son. It exhibits the behaviour of a uni-focussed circle. The advent of screen play writers who were adept in the ‘tricks journey can be imagined as from the superficial to the of the trade’. subtle, the change from a materialistic journey to a spiritual journey. The visual frames before and after Sreedharan’s II. FORM, STRUCTURE AND MODEL come back have a uniqueness attached to it. This has been employed in the imagery of a mother and child. The child Though his film sojourn extended through more than 35 sleeps while its mother is asleep and at the same time is years, only 10 films have come up as Adoor films. These awake. The mother hears about Sreedharan’s murder. But films stand a class apart in terms of theme and narration. A the audience can have a different interpretation; it can be transparent thread binds them together. This is the hallmark real or else a dream. of Adoor films. The structure and narrative techniques differ in each film. ‘Kodiyettam’ is considered as having the The structure of ‘Anantharam’ traverses through the pattern simplest narrative style. The protagonist Sankarankutty is a of monologue. Time appears before us as a fleeting rustic villager. Lucid narrative style and simple rustic sensation. The past and the future remain entangled in a dialogues mark ‘Kodiyettam’ as a film with a difference. complicated situation. The protagonist Ajayan narrates the The whole story gets unraveled in the plot of a temple story. But it is a totally different story. In one story he festival. The whole edifice of the film revolves round the presents himself as a super human with rare prowess. The preparation for the festival, the ecstatic levels of celebration society is unable to contain his acumen and abilities. and the culmination. The film opens with the bursting of Society tries to traumatize him in many ways. The second ‘Kathina’ and ends with the same fire crackers. His film story narrated by Ajayan is about his traumatic childhood ‘Naalu Pennungal’ too reverberates with simple story telling and the fearful incidents. He gets trammeled up in a world techniques. Adoor has etched out the essence of Thakazhi’s mired by truth and fiction. Such series of incidents have stories and had given a different visual treatment. It is also complicated his social sphere. Moreover, the elderly an eye-opener towards the plight of women. Stories of servants at home have created a barrier triggered by lies and Thakazhi are noted for their simple narration. The film fantasies. Finally, Ajayan reaches a mental status where he director too has tried to maintain the simplicity during is unable to figure out reality and myth. Love for Ajayan is adaptation. The director has done justice to the soul of the something disturbing. His heart yearns for true love. He stories and communicated exceptionally well through the sees his brother’s wife as Nalini which is a turning point of various visual modules. In ‘Vidheyan’ and ‘Kathapurushan’ the film. The comment of Adoor regarding ‘Anantharam’ is too Adoor had followed a simplistic structure which unfolds noteworthy. ‘The reality outside the frame is always trying the story in a poignant manner. The tragedies of the to correct the reality within the frame’. The reality portrayed protagonist get a magnificent visual interpretation in the in the visual frame of ‘Anantharam’ becomes unrealistic hands of Adoor Gopalakrishnan. In ‘Kathapurushaan’, time many a time in ‘Anantharam’. A driver is visible in the front is a major factor. The life of Kunjunny from his birth to the seat. The audience heaves a sigh of relief as the car which time he becomes a middle-aged man has been interpreted in has been in the car porch gets moved. At that point of time the backdrop of the political and social milieu of Kerala.
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