Vitascope Viewing

 

The Covid19 lockdown has proved more like a productive base in terms of binge watching movies. The series from action to romance to drama to comedy to experimental, all the varieties have attracted our attention. Alongside exclusive releases on OTT platforms, sitcoms and to-be-watched movies, I spent some time watching some of the classic movies and some contemporary favourites again. In the list of selected revisited classic movies were Dead Poet’s Society (English, 1989), Iruvar (Tamil, 1997) , Naagarahaavu (Kannada, 1972), Krantiveer (Hindi, 1994), Anbe Sivam (Tamil, 2003), 12 Angry Men (English, 1957), Oru Yathramozhi (Malayalam, 1997), The Great Dictator (English, 1940), Modern Times (English, 1936) and, for some strange reason, Hum Saath Saath Hain (Hindi, 1999). The contemporary few are Ente Ummante Peru (Malayalam, 2018), King Arthur: Legend of the Sword (English, 2017), Manamantha (Telugu, 2016), Sarileru Neekevvaru (Telugu, 2020) and Jojo Rabbit (English, 2020).

 

However, there is an all-time favourite movie from that list and I have tried to write a synoptic view about the same. A classic Puttanna Kanagal directed piece, which also attained the cult status, is the 1972 release Naagarahaavu. This Kannada movie became a huge success and rapidly paved way for the then new faces like Vishnuvardhan, Ambareesh and Aarathi to venture further in the film industry. The story is based on T.R. Subba Rao’s trilogy novels, Nagarahavu, Ondu Gandu Eradu Hennu and Sarpa Mathsara. The story at large has every component - drama, action, comedy and romance. There is requited love but does not end in the fruition of marriage, and at the same time there is an ardent admiration that holds tight the master and the student. The ideological clashes beginning with an individual and spreading it as far as the entire community is the reality mirrored in the movie. The movie depicts a typical 1970s scenario of college students, the rouges around and the youngsters need to prove their worth. There is no exaggeration nor an underplay on how these characters are constructed. Perhaps, this direct depiction of characters of different ages and sexes is what made it more relatable.

 

The movie has claimed many accolades for its music and songs, with the melodic voices of P.B. Sreenivas, S. P. Balasubramanyam and P. Susheela. ‘Baare Baare’ is one of the soundtracks that I listen to and hum the most (lyrics by Vijaya Narasimha and sung by PBS). Apart from all the highlights, I tend to watch this movie quite often is simply because of the way the women characters are portrayed. Although all of them appear submissive, at varying degrees, in a patriarchal world, each woman (or character) has been a passive direction changer throughout. The leading women, Alamelu and Margaret, played by Aarathi and Shubha respectively, are not portrayed as binaries for good and bad nor are they picturised as having misogynistic undertones in their characterisation. Alamelu, who is seen as a docile character in the beginning, especially when she accepts to marry someone else, is suddenly seen as a woman who no longer requires an aid from anyone and we see her being affirmative in choosing not to be saved by Ramachari from her miseries. On the other hand, Margaret, comes across as an extrovert with a devil-may-care attitude, and soon we see this character adorning the strength to fight the tensions of an inter-religious love/marriage affair. The lead women’s roles are progressive in a manner and we don’t see either of them accepting defeat, rather they stand as individuals who have metamorphosed to living the reality without complaining.

 

Naagarahaavu is one such movie that I don’t mind watching again and again. The songs and the master-student duo has always arrested my attention and likes. Apart from the cult classic Naagarahaavu is, there is a lot that I tend to observe in this movie every time I watch it.

 

Let me know your thoughts on the same. Also, do drop in a few movie suggestions!