Punyam Aham Press Kit Dec-09

Punyam Aham

a Raj Nair film

web: www.punyamaham.com email: [email protected]

Press contact: Raj Nair [email protected]

Registered Address Cauvery, Old Thirumala Alappuzha 688010 Kerala, India Phone +91 477 226 2144

Produced by Mirabilia Films Representives in India, Hong Kong, UK, USA & Australia. web: www.mirabiliafilms.com email: [email protected]

PUNYAM AHAM

SYNOPSIS

Punyam Aham is the rhythm and colour of limpid souls, those belonging to men, women and communities. Set in the very heart of the small South Indian State of Kerala, self- proclaimed "God's Own Country", with the realm of globalisation as a backdrop.

A film about people with dreams; living within those dreams. A search that may not necessarily hold the answer to the questions of minds akin. The crossroads in ones' sacred pilgrimage for the simple truths, the sins and an unexpected end of a new beginning is Punyam Aham.

The mother, the bigotry a feminine gender is born with, the tone of the skin she inherited…

The father, who married the low caste woman with a darker tone, left home in pursuit of the right coloured womb…

The son’s sacrificial trip, his homage into the discoveries of true motherhood, fatherhood and the ultimate realisation of a mere fact that, we are nothing but helpless slaves in the bequest of blood and ‘genes’…

The crossroads in ones’ sacred pilgrimage, the simple truths, the sins, and the unexpected end of a new beginning is Punyam Aham, a feature film in Malayalam with English subtitles by Raj Nair.

DIRECTOR’S PROFILE

RAJ NAIR WRITER, DIRECTOR & PRODUCER

Raj Nair was born in Kerala, India, a published author of fiction (poems, short stories and novels). His first novel “Nishabdathayilae Theerthadakan” (A Pilgrim of Silence) was serialised in “Samakalika Malayalam Vaarika” and published by DC Books, Kerala in 2001.

He made a feature length docu-drama about his own grandmother called “The Exhibits” (Kazhchavasthukkal) in the year 2004. This film was garnered wide critical acclaim and has shown at several festivals around the world.

He is currently in the post-production stage of his first feature film in his native Malayalam language entitled, Punyam Aham; under the banner of his film company, Mirabilia Films.

Raj Nair has been educated in India, Hong Kong, England (University of London) and USA (Harvard University). He lives with his wife and two children in Australia.

LINKS www.rajnair.com www.mirabiliafilms.com www.punyamaham.com

TREATMENT

“A man’s character is his fate”, said Heraclitus in a long bygone era of time. Perhaps we should now rephrase this to “a man’s character and the genes” in this millennium? “Punyan Aham” is such a saga, a man’s scuttle in search of the true meaning of love, the mother, the father and the self.

In the foothills of the northern region of Kerala, on a not that fine morning, following his dreams the protagonist Narayanan Unni set forward a trip to the capital city in the South, Thiruvanandapuram, to find an end to the mysterious agony afflicting his mind.

A fallen leaf from a banyan tree afloat in the stream guides him through. Naarayanan Unni discovers more on real life outside his life then far with the three women, his resolute mother, and two elder spinster sisters. The stream (in his life) widens to a river, and narrows and expands until it reaches its destiny! Narayanan Unni promised to make no mistakes himself in search of his father, the escapist, a congressman while Gandhi visited Kerala before the independence, who turned to become a leftist, then a hardcore bureaucrat and most of all a Brahmin, the highest in the cast chain. Perhaps the only greatness was he marrying a low caste Paraya woman from Southern Kerala. Blame the ‘isms’ and the term ‘comrades’ turned lovers during the freedom struggle of India.

Does Narayanan Unni make it without kissing a sin, stamping on the landmines of realities of the present day Kerala? In search of the truth, his father, and so the man, he himself...? A Malayalam feature film inspired by an infamous myth named “Naaranathu Brandhan” (“The madcap/madman of Naaranathu”, son of Vararuchi, a Brahmin scholar and Panjami, a low caste woman extraordinaire) and his family.

THE TITLE, “PUNYAM AHAM”

'Punyam' and ‘Aham’ are Sanskrit words adopted by Malayalam language. ‘Punyam’ the word literally translate to the following such as purity, holiness, virtue, blessedness, and auspicious deed. The second word Aham" means "I" "self".

In essence, if one would join the words punyam and aham, 'Punyaham' is a substance such as holy or sacred water used as sacrificial, ritualistic potion, usually made by priests of Hinduism in temples of South India.

In fact, the ‘substance’ could be anything, organic or inorganic, spiritual or secular or the ultimate, one’s state of mind. It could be a handful of muddied water, turning into a blessed potion in a spiritually acquired status, a holy substance in the hands of a pure, innocent and often clandestine mind. Punyaham could even be one’s transitional or transformed state of mind, perhaps at a point of time, with a possible remedial power on another tainted or errant mind or state of mind, at least in this milieu, the story. In English the preferred title would be, “Limpid Minds” or “Soul of Limpid Minds” or just “Soul”.

NOTES ON SOCIAL ISSUES

The caste system and skin colour, one of the most complex perhaps in the universe making Malayalees (people of Kerala who speak the language Malayalam) racists of a different kind. In other words, different shades of brown as skin colour with a white version and a darker black version of brown!

The peasants of virgin villages are under distress now more than ever. The globalization and invasion of multi-national institutions into the tiny state of Kerala has jeopardized the life of commoners, especially the poor, the farmers, the peasants. They have been under tremendous stress with the increasing debts they are forced to acquire and so suicides are more common amongst them. Pristine minds of these peasants are not equipped with the strength of modern day men of the cities (with university degrees on how to survive modern day calamities of humanity). These peasants often end their life because of pride; taking with them their entire family since he the peasant, the homemaker do not trust the world without him.

The collapse of idealism, Kerala boast to the fact that, they elected the first communist leader through democratic polling in the world! Malayalees are accustomed and proud to quotes from elsewhere in the world when it comes to local issues, from their leaders. Ignorance and pretence does often get in the way of believing the facts local politicians proclaim through media or a simple pedestal microphone.

CAST

PRITHVIRAJ Prithviraj is an award-winning (Kerala State Award), popular Malayalam & Tamil film actor. Making his debut with the critically acclaimed film Nandanam, Prithviraj has since established himself in the Malayalam film industry through a variety of roles including those in "Stop Violence", "Chocolate", "Vaasthavam" and "Classmates". He has made strides in Tamil with hits like Kana Kanden, Parijatham & Mozhi. Prithviraj is also making his presence felt in the Telugu Industry through films like Kalakanidhi & Police Police.

Filmography 2007 Kangaroo 2007 Dayanayak: Licenced to Kill 2007 Chocolate 2007 Veeralipattu 2007 Nadiya Kollappetta Rathri 2007 Khaki 2007 Mozhi 2006 Oruvan 2006 Pakal 2006 Vasthavam 2006 Classmates 2006 Vargam

SAMVRUTHA SUNIL South Indian actress, introduced to the film industry through a Malayalam film Rasikan opposite Dileep. She had acted in several films in Tamil and Malayalam.

Filmography Chocolate (2007) Arabikadha (2007) Vaasthavam 2006 Janmam (2006) Moonnamathoral (2006) Nottam (2006) Achanurangatha Veedu (2005) Nerariyan C.B.I (2005) Chandrolsavam (2005) Rasikan (2004)

CAST

NEDUMUDI VENU Award winning popular Malayalam film actor. He has also written some screenplays and has directed one film.

National Awards 1990 His Highness Abdullah & 2003 Margam State Awards 2003 Maargam & 1987 Oru Minnaminunginte Nurungu Vettam

Filmography 2006 Pothenvava 2005 Anniyan 2005 Thanmathra 2005 Mayookham 2005 Anandabhadram 2005 Finger Prints 2004 Amrutham 2004 Maampazhakkaalam 2004 Yanam 2004 Vettam

KPAC LALITHA Award winning Malayalam film and stage actress and the wife of famous Malayalam film director Bharathan. She is a versatile actor known for her naturality in handling a wide range of characters and her comical timing.

Filmography 2007 Nasrani 2007 Alibhai 2007 Aakasham 2007 Rakshakan 2007 Vinodayathra 2007 Mayavi 2006 Red Salute 2006 Bhargavacharitham Moonnam Khandam 2006 Aanachandam 2006 Rasathanthram

GOPAKUMAR MR Unique Malayalam film and TV actor introduced by Adoor in his acclaimed film, Vidheyan

Filmography 2005 Nerariyan CBI 2003 Padam Onnu Oru Vilapam 2001 Thotram 1997 Bhoothakkannadi 1996 Oru Neenda Yathra 1994 Vidheyan

CREW

Screenplay, Direction & Producer RAJ NAIR www.rajnair.com Filmography 2004 The Exhibits (Kaazhchavasthukkal) Novel: Nishabdhathayilae thherthadakan (DCBooks, 2001)

Producers RAJ NAIR SHYAM PRASAD JANARDHAN MENON

Film Company MIRABILIA FILMS www.mirabiliafilms.com

Director of Photography MJ RADHAKRISHNAN Filmography 2008 Oru Pennum Randaanum 2007 Ottakkayyan 2007 Naalu Pennungal 2007 Thakarachenda 2005 Makalkku 2004 Sancharram 2004 Koottu 2003 Arimpara 2003 Ek Alag Mausam 2002 Kannaki 2001 Theerthadanam 2001 Pattiyude Divasam 2000 Karunam 1999 Marana Simhasanam

Music ISSAC THOMAS KOTTUKAPILLY Filmography 2007 Naalu Pennungal 2004 Kaya Taran 2004 Sancharram 2003 Margam 2002 Bhavum 1994 Swaham

Editing BINA PAUL VENUGOPAL Filmography 2002 Mitr, My Friend 1986 Amma Ariyan

CREDITS (1/2)

Naarayanan Unni PRITHVIRAJ SUKUMARAN Jayasree SAMVRUTHA SUNIL Kaarackal Easwaran Namboodiri NEDUMUDI VENU Amma KPAC LALITHA Pappanassari M R GOPAKUMAR Georgekutty NISHAND SAGAR Elder Sister SONA NAIR Pankan SREEJITH RAVI Paachan KRISHNAN Balan BABU MATTANUR Shopkeeper NEDUMUDI HARIKUMAR

Story RAJ NAIR Dialogue Screenplay Direction Producers RAJ NAIR SHYAM CHENGALATH JANARDHAN MENON Executive Producer ANUT ITTHAGARUN Production Controller ANAND PAYYANUR Director Of Photography M J RADHAKRISHNAN Film Editor BINA PAUL VENUGOPAL Background Score & Music ISAAC THOMAS KOTTUKAPPALLY Art Director M KOYA Costume Design KUMAR EDAPPAL & RAJ NAIR Make-Up Artist PATTANAM SHAH Lyrics NEDUMUDI HARIKUMAR Playback Singers CHITHRA MADHU BALAKRISHNAN

CREDITS (2/2)

Sound Mixing HARIKUMAR CHITHRANJALI Sound Recording NAUSHAD CHITHRANJALI Foley Artist RAJ MARTHANDAM Financial Controller MADHAV MENON Web RAKESH MENON Still Photography MANJU ADITHYA Poster Design WILLIAMS LOYAL, COCHIN Kathakali Consultant KALAMANDALAM GANESHAN Studio CHITHRANJALI, THIRUVANANDAPURAM Dubbing Studio LAL MEDIA, KOCHI & KALABHAVAN DIGITAL STUDIO, THIRUVANANTHAPURAM Lab PRASAD COLOUR LAB, THIRUVANANTHAPURAM Associate Director UNNIKRISHNAN VK Assistant Director & Continuity VISHWAM Supervision SUNDAR T Clapper Loader SATHEESH Apprentice VIPIN Associate Cameraman REJI PRASAD Assistant Cameraman ANIL NARAYANAN Associate Editor JAYACHANDRA KRISHNA Dubbing Assistant RAKESH, LAL MEDIA Production Managers SHIBU & SUJITH P R O AYMANAM SAJAN VAZHUR JOSE Format 35MM CINEMASCOPE FILMED IN EASTMAN KODAK

PRESS COVERAGE

“UPLHOLDING LINEAGE” Prema Manmadhan – The Hindu “Friday Review Thiruvananthapuram” – April 2, 2008 “My early years in Alappuzha Bhranthan. Like him, his which loved to discuss with my grandparents, cousins protagonist’s parents come literature, theatre and works and friends moulded my love from two different strata of of art in our formative years. for the written word and the society. He seeks to learn arts.” more about his father and He is a writer, who strayed the film unfolds his into medicine and dentistry, He has the experiences. he insists. He has published a benefit of book called ‘Nishabdathayilae lineage; he “Prithviraj plays the lead. Theerthadakan’. Noted has that Samvritha Sunil is the female writers and other literati freedom of lead. Nedumudi Venu, who came to visit his mental space K.P.A.C. Lalitha and M.R. grandfather Thakazhi to pursue his Gopakumar play important Sivasankara Pillai, had a great heart. That is roles. M.J. Radhakrishnan is influence on him. Later, his why, this guy with a the cinematographer, Isaac tryst with dentistry led him doctorate in oral medicine, Kottukapilly the music to Hong Kong and Harvard. who teaches this subject at a director and Beena Paul “I may be dressed in University in Brisbane, Venugopal edits,” says Raj, Western clothes, but at Australia, is dabbling in who plans to begin shoot in heart, I am a rustic,” says Raj. documentaries and feature September. Raj, films. Shyamaprasad and About hope Janardhana Menon, under the Raj is also making a Thai Debut film baton of Mirabilia films, are feature film called ‘The Blind Raj Nair first filmed his producing this movie. It has Mirror.’ It is about a Thai girl grandmother Katha’s life to no songs, but there is a and her mother who run an show the world what it’s like theme song, says Raj who has eatery where a foreigner to be old and lonely. “The written the screenplay too. frequents. The other short film, ‘Kazhchavasthukkal’ movie he is making is in documents the realities of “My early years in Alappuzha Cantonese with English aging, of past and current with my grandparents, subtitles. Called ‘Masked social issues and the colour cousins and friends moulded Dreams,’ it is about Severe of loneliness,” he says. my love for the written word Acute Respiratory and the arts. I used to write Syndrome. Yet the film is Now, he is on to a feature short stories and a lot of about hope. film, ‘Punyam Aham,’ based poems, which we recited and on the legend of Vararuchi, enjoyed. We were a group Panjami and Naranathu

PRESS COVERAGE

CHITHRABHUMI March 20, 2008

“RAJ NAIR WITH PUNYAM AHAM” indiaglitz.com – April 7, 2008 Famous literary figure Thakazhy's Grand son movie, which is planned to start by Raj Nair is debuting into directing feature films September.The movie produced in the banner with a movie titled ‘Punyam Aham'. Based on of Mirabilia Films by Raj, Shyamaprasad and the legend of Naranathu Bhranthan, Vararuchi Janardhana Menon, will not feature any songs. and Panjami, the movie will have Prithviraj in the lead. It is one of the few films that Raj Nair, who is holding a doctorate in oral Prithviraj has agreed to be in, for this year. medicine, and teaches this subject at a University in Brisbane, Australia, will also script Samvritha Sunil is the female lead of the movie the movie. He had earlier been the director of which will also have Nedumudi Venu, K.P.A.C. a documentary 'Kaazhchavasthukkal' featuring Lalitha and M.R. Gopakumar in other his grandmother Katha, on the loneliness of old important roles. This year's state award winner age. Raj is also planning to make a feature film M.J. Radhakrishnan is the cinematographer in Thai in the title 'The Blind Mirror’. while Isaac Thomas Kottukapilly is the music director. Beena Paul Venugopal will edit this

PRESS COVERAGE

“PUNYAM AHAM: RAJ NAIR TURNS DIRECTOR” nowrunning.com – May 1, 2008 With Punyam Aham, directing a full length feature film titled Punyam Raj Nair turns a Aham, which will have Nedumudi Venu, feature film director. Prithviraj, KPAC Lalitha and Samvritha Sunil in But who's Raj Nair? key roles. Scripted by Raj Nair himself, the film The name may not be will etch the story of a youth in search of his much known, but Raj heritage and roots. Nair has a claim to fame, being the grandson of the Jnanpith recipient Late Thakazhi The film will be produced by Raj Nair, Shyam Sivasankara Pillai, the man who penned the Prasad and Janardhanan Menon under the immortal Chemmeen and many oth er banner of Mirabilia Films. M.J. Radhakrishnan memorable novels. will crank the camera for the film, while music will be by Isaac Thomas Kottukapally and Raj Nair, who got noted with his docu-film The editing by Beena Paul. Punyam Aham will start Exhibits (Kaazhchavasthukal), now moves on to rolling in June.

“PRITHVIRAJ IN PUNYAM AHAM” oneindia.com – April 11, 2008 Famous literary figure Thakazhy's grandson Edited by Beena Paul Venugopal, the movie is Raj Na ir is directing set to start by September. The movie, his first film titled produced under Mirabilia Films by Raj, Punyam Aham. The Shyamaprasad and Janardhana Menon has the legend of Naranathu surprise element of having no songs at all. Bhranthan, Vararuchi and Panjami is the basis for this movie. It is one Raj Nair, with a doctorate in oral medicine, of the few films that Prithviraj has agreed to act teaches at Brisbane University in Australia. He this year. will also write the script of the movie. He earlier directed a documentary Prithviraj and Samvritha Sunil are the lead Kaazhchavasthukkal, on the loneliness of old actors, with Nedumudi Venu, K.P.A.C. Lalitha aged, featuring his grandmother Katha. and M.R. Gopakumar in other important roles. This year's state award recipient, M.J. Raj is planning his next movie in Thai, titled Radhakrishnan is behind the camera; Isaac The Blind Mirror Thomas Kottukapilly is scoring the music.

PRESS COVERAGE FOR DIRECTOR RAJ NAIR’S FILM “THE EXHIBITS” (KAAZHCHAVASTHUKKAL)

The Exhibits (Kaazhchavasthukkal), Raj Nair’s first documentary feature, was released in 2004. Receiving critical acclaim around the World, shown at festivals in the US, Hong Kong and all over Asia.

www.rajnair.com Visit the website.

“A DOCU-DRAMA FROM RAJ NAIR” Sri Adoor Gopalakrishnan Raj Nair’s film, The Exhibits looked at with a lot of empathy own house as a tenant. Now, communicates to the viewer at and understanding. In the living all alone with only her different levels. At the basic evening of their lives, these memories for company this level, the filmmaker is ‘visiting’ women who have struggled all grand mother has turned into his maternal grandmother who along find no respite from their an exhibit herself. is the widow of the literary toils. But then they are stalwart, Thakazhi Sivasankara determined to brave the The working of the ‘museum’ Pillai. It is also a visit to a time hardships and adversities of life that opens and closes on the and period we all struggle to accepting them as fate. official schedule of 10 am to 5 preserve now but cannot in the pm and the routine of a life in onslaught of changes that are The writer’s residence which isolation for the widow, are economic, political and social. has become a museum today is some of the lingering images The changes are all pervasive visited by hordes school this film leaves as it runs its and they do not exempt children led by their teachers. length. Only the periodical anything in its massive and As the of young boys and girls clattering of the passenger merciless sweep. peer at the manuscripts and trains dare disturb the quiet and other memorabilia of the silence of this time warp. At another level it is about the celebrated writer in awe and widows of his ancestral village, curiosity, a few admiring souls This is a fitting homage from a one of whom happens to be his among them cannot help craving filmmaker to his very special grand mother herself. Their for a look at the writer’s widow grand mother and her time. plight in today’s situation is who occupies a corner of her

“THE EXHIBITS: A DOCUMENTARY BY THAKAZHI’S GRANDSON” Joy Varghese / Chithrabhumi Grandson with the transcription Kathachechi that is shown in the The documentary is in of the loving images of Thakazhi documentary; they were merely Malayalam that runs for sixty and Kathamma, he had always the inspiration! ”This is neither minutes with full subtitles treasured in his heart! your typical ‘grandmother story’ throughout. Ashrabh A Bava ‘The Exhibits’ the documentary nor a story about produces it, a Malayali who lives by Raj Nair, the grandson of the ‘grandmothers’; this is a true in Hong Kong, under the Hong world famous literary genius reflection of a life that I grew up Kong based ‘Globstar Thakazhi Siivasankara Pillai, is with”, Raj Nair talked about his Production’s’ banner. Kesu V ready for release. documentary that deals with the Nair, another Malayali who lives Raj Nair, the director and innocence of childhood, pranks in Hong Kong is the executive writer of this documentary, said of the teen-age years, briskness producer and Prasad Adoor is during the interview, “watching of adulthood and the difficulties the Associate Producer. my grandmother’s lonely life of old age. after my grandfather’s demise Cinematography, for this inspired me to embark on this Kathachechi acts in this venture by the three Hong venture. documentary, but not as ‘Katha’. Kong Malayalees, is by T G The story continues through Sreekumar, editing by Ali Akbar Raj Nair is a doctor working in the very soul of Thakazhi’s and Project design by Sathish Hong Kong. He completed the memory. The picturesque Babu Payyannur. The others documentary while he was on journey through the various behind this production: Amal his holiday in Kuttanadu, his stages of a woman’s life, living Viji (the assistant director), Anil hometown in Kerala. The story with her parents, husband, K Arun (the art director), Sunil is a journey spanning through children and finally, the solitary Petta (the production the four stages in a woman’s life, fate had entrusted on her! executive) and still photography life, childhood, teens, adulthood Raj Nair unwinds the magical by Rinku Raj Mattancherry and and old age. threads of his grandmother’s life Biju R Nambiar. with her Thakazhichettan, from This documentary is based on the multitude of experiences The documentary had its Katha’s life. Kathachechi lived that she had told him over the preview in London in front of an alone at the family house, years. invited audience and it won’t be Sankaramangalam, after long before it is released in Thakazhichettan died. She Raj Nair, who is lovingly called Kerala. refused to leave ‘Raju’, is the only son of Dr ‘Sankaramangalam’, to go and Gopinathen Nair and Janamma, The filming was done in live with any of her children, but Thakazhi and Kathachechi’s Nedumudi’, a small village in chose to live alone reminiscing third daughter, who live in Kuttanadu, absorbing the the happy days with her Alleppey. Raj has written stories untouched beauty of Thakazhichettan. and novels in the past, but ‘ ‘Nedumudi’ that serves as the Exhibits’ is the first attempt at a backdrop for this beautiful story But it is not the story of documentary. that glides through old times. Thakazhichettan and Translated from Malayalam by Dr Elizabeth Menon [www.omana.net]

“GRANDSON’S ‘KATHA’, WITHOUT BECOMING AN EXHIBIT” Professor K Ayyappa Panicker / Kala Kaumudi For grandson Raj Nair and his on the memory of her life with talk about loneliness, illness and camera, it’s a trip down the Thakazhi, the most beautiful their suffering, but still find time solitary life of ‘Thakazhi’s Katha’ music for her! When one looks to smile! She lights the lamp in at Sankaramangalam, but a long back into the life of those who the evening and trims it to the deep sigh for the spectators! are left behind, there is a kind of correct flame and tries not to perfection in that emptiness- get taken over by the sad It was surely a platform for ‘his the feeling of the presence of memories. All this, sort of Grandmother’ and the real Thakazhi even in his reminds one what it feels like to Grandmothers around the absence; the story is told in be treated like an ancient object world, where love, compassion, such a way that these intricate even when one is alive! serenity and miracle were in feelings are felt by Katha’s abundance, without even a mere grandson Raj Nair, just as we Unavoidable suffering that is hint of deceit or uproar. In spite mortals do. brought on by old age, how not of it being a personal journey to be part of the indifference that gives ample representation What is life? Is it just ripples in towards anything or anyone that for all other modes of human one’s memory? Or the mistakes tries to make anyone or feelings, ‘The Exhibit’, directed encountered during an attempt anything, an exhibit, and at the by Raj Nair, shows qualities, to to bring back the life we lost, same time, different phases of reserve its place in the knowing fully well that it’s not old age also are shown with mainstream. possible? Could it be the useless such self defiance that this precautions that one takes, in documentary gains depth. It also One can say that this the knowledge that however avoids political or cultural documentary is about much one tries to go forward, discussions and therefore Raj Kamalakshiyamma, who was the return is inevitable? Is it has succeeded in keeping the affectionately called ‘Katha’ by perhaps, the sweet revenge in focus on Katha. Those who Thakazhi, and her solitary life; the fight against giving into came to see Thakazhi’s Katha stays alone in her family failure? Or is it possible that it’s turbulent public life perhaps house Sankaramangalam, that is an attempt at stopping the ‘ever were disappointed! There were now taken over by the flowing wealth of a widow, the glimpses of Kuttanadan life, Department of Archaeology tears? Her heart realizes the family rivalry, customs and rites, under the Government of truth and cry out silently, “I cultivation and Thakazhi’s Kerala as the ‘Thakazhi really don’t know, my Love”! marriage, but toned down to Sivasankarapillai Memorial. But And while this is going on, ‘The the minimum. A keen observer it tells the story of all the Exhibits’, enriched by the would appreciate this widows, their solitude and solitude and emptiness of all the documentary as a deep, silent suffering; that is what one hears widows and all the old, lonely sigh that wrenches at one’s and must hear in this beautifully women around the world, leads heart. ‘The Exhibit’, a illustrated piece of music the audience to an eternal documentary with the use of throughout. The world famous solace. Katha goes to visit her minimum words, is an example literary genius, Thakazhi neighbour, another in showing the importance of Sivasankarapillai is no more, but grandmother and they both rejecting and excluding things his loving wife Katha in her 85th engage in a pleasant that do not improve that year, still shines like a precious conversation, enquiring about particular film or documentary. jewel, only through reminiscing each other’s health etc. They Translated from Malayalam by Dr Elizabeth Menon [www.omana.net]

“BEAUTIFUL, LYRICAL, POETIC, MOVING…” Len McClure – International Documentary Association Beautiful, lyrical, poetic, moving. There is no voice-of-God takes more time than the That is the only way to describe narrator telling us about the Discovery Channel could ever this film by Raj Nair, grandson period of history. Only the afford. of the Indian writer, Thakazhy S. woman’s voice that has lived I had the rare opportunity to Pillai. The film is not explicitly them and the voices of her see this film in its original about the late writer, but about friends and neighbors of many Malayalam with the filmmaker his wife of 65 years, who lives a years. providing impromptu narration. simple life in the back part of Poignant flashbacks take us to If there is one criticism I could what used to be her residence the time a young girl broke with make, it is that some of the but has now been made into a tradition and married a man silent spaces in the film are too museum. introduced not by her uncle, as long – even for the connoisseur. A good example of indirect was expected, but by her There are things in the frame being more powerful than brother. The man was to which hold much meaning for direct. Because the writer’s become one of the most noted the filmmaker, and are assumed presence is felt throughout: writers in modern India, the girl knowledge among Malayaleese through the sensuous views of now the 84-year-old woman we (such as the cutaway of a finely the house, the fecund life see going about her daily rituals, polished brass lamp set), but surrounding it, the group of carrying with her all those which would go completely school girls who visit the memories. unappreciated by all others. I museum on a field trip and have If you’re the kind of person who hope that the English version of the rare pleasure of a meeting is used to wolfing down your this film will shorten some of with the writer’s widow who, in cheeseburger in three minutes, these scenes while providing a bizarre way, has herself this is not the film for you. But if just enough narration to fill in become a living museum piece. you’re one who prefers to let missing knowledge. So that the We also have the opportunity the finest delicacies melt in your non-Malayalam audience can be to hear about the life the writer mouth, then there is much to carried along with the same, or and his wife lived, through a savor in this film. almost the same, feelings as the period of Indian, or more The beautifully choreographed audience for whom it was correctly, Malayalam history moving shots of the widow originally intended. that has seen drastic changes going about her daily life evoke take place in the social fabric. an emotion that necessarily

“JUROR’S COMMENT” May Fung – 10th Hong Kong Independent Short & Video Awards 2004 The filmmaker made the film re-make and autobiographical and the tone is lyrical, poetic with a subtle ‘feminist’ approach citation from the laureate about and philosophical. It simply by documenting the present of inspiration that his wife brought reminds one of Satyajit Ray. the widow through her daily to him. The content is rich, the chores and her past through a approach is subtle yet critical,