Directed by: Jayaraj
Music: SP Venkatesh
Lyrics: Kaithapram
Starring: Narendra Prasad, Suresh Gopi,
Jayaram, Geetha,
Maniyan Pilla Raju,
Nandita Bose
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For
quite some time now, I’ve steered clear of ‘serious’ films preferring to be
entertained rather than be forced to think. So why I suddenly thought of two
movies – both by the same director – neither of which can be slotted as
‘entertainers’, is beyond me. Deshadanam is indescribably tragic and not being
a masochist in the slightest, I decided to leave that for another day,
preferably not during the dark, depressing winter days.
This
one, Paithrukam (Heritage), is not exactly tragic, but very thought-provoking.
It is, at its core, a clash between ideologies, between generations, between faith and disbelief. You can take sides, depending on your personal
views, or like me, be a fence-sitter, however uncomfortable that seat might be.
Devaduttan
Chemmanthirippadu (Narendra Prasad) is a respected Vedic scholar. He conducts
yagnas when required, and has even completed the Somayagam, earning for himself
the title ‘Somayajippadu’. He is the father of two sons – Somaduttan (Suresh
Gopi) and Chitrabhanu (Jayaram).
The
brothers couldn’t be more dissimilar. Soman is an atheist, rebelling against
his father’s faith. Having left home to become a journalist, Soman is working for the Times of India in Delhi. The quiet, sensitive Bhanu, on the other hand, is the chief
priest in the local temple and spends his spare time writing poetry. Despite
their divergent views, the brothers are close, and Bhanu is very happy when he
gets the news that his brother is coming to visit.
Soman,
radicalised out of his religious leanings during his student days in Delhi, is
not just visiting, however. He’s left the city for good. However, the daily
rituals and worship in a devout Namboothiri home soon begin to irritate him. His clashes with his father are sometimes acrimonious and Bhanu
and their mother (Nandita Bose) try their best to soothe tempers without much
success.
While he accepts that Soman is following a different truth, Devaduttan advises his older son to follow
the path of a brahman. He is upset when Soman retorts that he’d thrown away his
sacred thread a long time ago. The resultant argument ends in Devduttan asking Soman
to leave the 'naalu kettu' (the traditional quadrangular home with a central courtyard). Soman can stay on in the ‘pathaya pura’ (the granary) but
the naalu kettu is the
repository of the holy fire. And a non-brahmin cannot
partake of the agnihotram.
Despite
Bhanu’s pleas and his mother’s tears, Soman leaves home. He and Gayatri (Geetha), his girlfriend, decide to get
married (without informing his family), and soon take up their residence in a
deserted house in the village.
The
villagers warn them against staying there – there have been many horrifying
incidents in the house. Soman laughs – he doesn’t
believe in such superstitious nonsense. His friends and he clear the house and
the yard around it, in the process destroying the sarpakkavu – traditionally
considered the abode of the serpent gods.
Meanwhile,
Bhanu has fallen in love with Gauri (Padmini?) a young girl, a devotee who
visits the temple regularly. Shy and reticent, Bhanu confides in his mother about
his wish to get married to the girl he loves. But Devaduttan refuses to
countenance the marriage until after Bhanu turns 27.
Puzzled by his father's statement that the interim six-month period is bad for him (and that he has no marriage in his future) Bhanu and his friend (Maniyan Pilla Raju) go to an
astrologer in the next village, and request him to cast Bhanu’s horoscope. Not
knowing that the information given to him is that of the man sitting in front
of him, the astrologer opines that the young man's life expectancy is short – he will die before his 27th birthday.
Bhanu
is devastated by the news. Reticent as he is, he does not disclose the
astrologer’s views to anyone, but they continue to prey on his mind. Until…
A
grieving Soman turns into his father’s inflexible enemy. Meanwhile, Gayatri,
who miscarried her first pregnancy, is in imminent danger of losing her second
child too. Then she learns that the villagers believe that the destruction of
the sarpakkavu has called down the curse of the serpent gods on their heads. Grieving
the loss of her baby, afraid of miscarrying a second time, stressed by the
shock of her brother-in-law's death, Gayatri begins to unravel. When
she begins to dream of serpents, she starts to question her own beliefs.
Soman
is aghast that his wife has given up on her ideals, but Gayatri is beyond
reasoning with – her miscarriage has made her remember her father-in-law’s
warning that no one staying in that house will ever bear a child.
Soman's ideals are important to him and so, he issues an ultimatum – if Gayatri wants to live with him, she will have to abide by his
principles. However, Gayatri's desperate need to save her child overrules her ideals. When her
own father refuses to stand by her, she seeks sanctuary at her in-laws'.
There,
amma (Nandita Bose) welcomes her and takes good care of her, and teaches her the traditional rituals of which she is ignorant. Though grieving her husband’s absence, Gayatri thrives under her mother-in-law’s loving care. Eventually,
she gives birth to a baby boy. Soman is still reluctant to re-enter his father’s house. Meanwhile, the villagers have come to meet Devaduttan – the
rains haven’t yet arrived and they want the high priest to conduct an
athiraatram – a yagna to propitiate the gods.
This is the last straw for Soman. In front of the
villagers, he challenges his father – if the yagna fails, Devaduttan must
accept his son's views as true. It’s a challenge that is readily accepted.
Paithrukam
is my second review in what I call my ‘Nampoothiri trilogy’ – films based on
that specific Brahmin community of Kerala, with their social ethos, their
beliefs, and their customs being advocated for (as here) or against (as in
Parinayam). Brilliantly staged with extremely well-etched characters and
nuanced characterisation – Paithrukam is less about theism vs. atheism than it is
a social commentary on the Namboothiri community. The social ills that pervaded
the community led to a large number of Namboothiri youth turning their backs
against religion to become Communists. Like all new converts, they were often
more communist than the Communists themselves. The rigidness of their ideology is
exemplified by Soman’s stance in the film.
In Devduttan, we have a character who is a good, kind man, who is
staunchly religious. He has never harmed anyone by thought or deed, nor has he
used his knowledge to manipulate them for his benefit. He is, in fact, more
accepting of others’ beliefs than his son.
In one of the many great clashes
between father and son, Soman tells his father that he doesn’t want his son
brought up a Brahmin. He wants his son to follow in his footsteps and follow
his ideals and principles. Devdattan looks at him, and says quietly, ‘Ente
makan enne pole aavanam ennu njaan vaashipidichillallo?’ (‘Did I insist
that my son be like me?)
This
was possibly one of Narendra Prasad’s finest roles, and he aced the character
of a deeply devout man who is forced to face a son who has equally
strong but opposing views. He’s a man
who loves his sons but cannot express that love – even when he disallows
Bhanu’s marriage, it is to protect the unknown girl from a fate that he
believes will ruin her life. Earlier, when he learns from Bhanu that Soman has
married Gayatri, he says nothing. But his downcast eyes, and his hands
relentlessly crushing the rice on the plate in front of him reflect his sadness
at the estrangement.
Jayaram,
similarly, was fantastic as Bhanu – a young man, sensitive, slightly fearful,
constrained by his faith, and therefore unquestioning of it. It is responsible
for his tragic end, but is in keeping with his fatalism. His is a quiet
performance, of a young man caught between the two people he loves and respects
the most. His interactions with his brother play out like that of
close siblings, the shared jokes, the teasing, the tiffs and the little hurts; when his brother defies his father, Bhanu is caught between two opposing
forces. His instinctive support is for his father’s views, which he shares. But
his love for his brother makes him feel his abandonment keenly.
So much so,
when his brother buys the abandoned property, Bhanu overcomes his fear to plead
with his brother to leave the unlucky place – he’s overheard their father say
that no good will come of it, and in his view, his father is infallible. His
words affect Gayathri in ways she will only reflect upon later.
Bhanu
is also the peacemaker – when his brother apologises for not inviting him to
their wedding because to take part would mean that Bhanu would face their
father’s wrath, Bhanu disagrees. Their father is a kind man. He had
witnessed his father’s sorrow when he heard of the wedding from others. If
Soman had given him the opportunity, their father would have conducted the
wedding with unconditional joy.
The
women, who play a peripheral role in this clash between the men in their lives
and their ideologies, are not ciphers either. Nandita Bose as the mother has a
mostly-silent role but expresses herself eloquently through her silences. Geeta was one of Malayalam cinema’s finest female actors. For someone who is not a
Malayali, to immerse herself in the cultural and traditional ethos the way she
did is commendable. In the scene where she finally caves, giving up her
professed (and cherished) beliefs in atheism and communism to turn to age-old
traditions for succour – and makes us believe in that transformation – is
amazing. Her confrontation with her husband is also, in a way, a clash of
ideals. His fight
with his father has left her and his mother as collateral damage.
Suresh
Gopi as Soman had the most complex role – he’s not a great actor by any means,
but Jayaraj has the knack of drawing out strong performances from the man. (See
Kaliyattam, for instance.) Here, his Soman is a man running away from his past,
only to find that he is defeated by his father’s strength of conviction. Ironically,
in the scene where he leaves home, he tells Bhanu that his fight with his
father is a clash of ideologies; he cannot afford to lose.
His
personal transformation towards the end is reasonable; one wonders, however, if
they needed to go that far. Can’t you not believe in God without believing in
the trappings of religion? [Reformed Communists become the most fervent
believers, in my experience – my late uncle was one such – so perhaps, the
director was not far wrong in showing what he did.]
Is
Paithrukam, as some viewers claimed when the film released, a regressive film
that perpetuated age-old superstitions? I can understand their stance – after all, Communists spent quite a bit of
their time to end the stranglehold of superstition and religion over the masses. Yet, I’m
torn. The criticism is valid, but I confess to being a fence-sitter
on the subject.
I grew up in a similar ethos. As a teenager, I was virulently atheistic; it continued through my early 20s. Today, I verge on the agnostic; the true belief that many of my family profess is still not something I identify with. That said, I would be loath to destroy a sarpakkavu. It bothers me to keep a broken lamp or a broken idol of a deity at home [I've consigned both to the waters]. There are certain things I will not do, which fall under the umbrella of ‘Why borrow trouble?’ My brother who is staunchly atheist, and his wife, my sister-in-law, who truly believes are both extremely comfortable with their choices. I, neither believing nor disbelieving, am in a truly uncomfortable place.
I grew up in a similar ethos. As a teenager, I was virulently atheistic; it continued through my early 20s. Today, I verge on the agnostic; the true belief that many of my family profess is still not something I identify with. That said, I would be loath to destroy a sarpakkavu. It bothers me to keep a broken lamp or a broken idol of a deity at home [I've consigned both to the waters]. There are certain things I will not do, which fall under the umbrella of ‘Why borrow trouble?’ My brother who is staunchly atheist, and his wife, my sister-in-law, who truly believes are both extremely comfortable with their choices. I, neither believing nor disbelieving, am in a truly uncomfortable place.
Paithrukam,
though, is unabashed about its point-of-view, and that honesty in
taking a stance, coupled with the very strong performances, makes this
tightly-edited, beautifully-photographed film worth a watch.
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