sea was quite turbulent that day; the waves were crashing fast
and hard against the unmoved rocks; unfazed by the attitude
of the rocks the waves keep on addressing (appealing to) the
rocks; Madhavi spots Balu sitting on one of the rocks pondering
over the events that transpired after his mother's death; She
comes running towards him eager to share her feelings, her ambitions
(art) and ultimately her life with Balu. The background music
(Illayaraja) soars just like the waves in the background. And
just when she is about to reach him and hold his hand to never
let go of it for eternity, she finds the man who left her hand
at the altar looking at (for) her. Silence reigns. Madhavi retreats
her steps (and intentions). Her husband moves forward a few
steps. Balu chooses to remain in the background. Madhavi controls
the surge (and urge) of her emotions. Her husband rises to the
occasion at just the right time. Balu transforms his admiration
and love for her into pure devotion (aaraadhana) right at that
chOTu choosukunna manishiki
moorthigaa kOvela kaTTi
bhaktigaa koluchukunna vaeLa
praema ganga urakulatO saagi saagi
baadhyatala aanakaTTula aagi
aaraadhanaa saagaraala Odi chaeru vaeLa
aavaeSamula uppenala jaDilO
tana manishini munchettha valenani kadili
aalOchanala tarangaalugaa taggi
nuDuTa boTTugaa chindaka
paadaala paaraNi tanu kaDugu vaeLa
sagara sangamam - karuNa ganga praema saagaraala
rasaananda saagaara sangamam
A classic K. Viswanath moment. A moment that screams of subtlety.
A moment that urges the viewer to dig deep inside of him to
try to understand what each of the characters might be undergoing.
Madhavi's situation - torn between her love for Balu, her respect(?)
for the tradition. Balu's condition - vacillating between his
heart and his art. Husband's dilemma - unable to decide between
what is good and what is right.
the classical (sometimes, semi-classical) music aside, set the
semi-classical dances aside, set the soothing words aside, set
the lilting lyrics aside, set the actors, their statures, their
performances aside - Viswanath's movies revolve largely around
these moments filled with simple yet profound emotions that
convey a thing or two, saying a word or two about human drama.
Rangadaasu becomes a collector and is posted to the same village
as his parents, the whole village comes together to greatly
rejoice the return of their son to their land. His mother watches
the procession with from a distance and unable to contain the
excitement and unable to conceal the giddy delight anymore,
runs away far from the procession to her home dragging her husband
into the hut enroute. Haridaasu is baffled by his wife's never
seen before display of emotions. She closes the door, looks
around for a second, drags him closer and plants a kiss on his
cheek and says - "entha manchi koDuku nicchavayyaa!"
and weeps in delight.
putruDu janiyincinapuDu kalugadu janulA
putruni kanugoni pogaDaga
putrOtsAhambu nADu pondura sumatee!
Another classic Viswanath moment. The link he creates between
a simple sumatee satakam poem and an otherwise ordinary moment
of a child being recognized and lauded by the rest of the world
in front of his parents, and his ability to expand on an emotion
conveys a thing or two, saying a word or two about human drama.
No loud words, no harping on the moment, no beating the emotion
till the point of death. Touch the moment till it creates an
impact and move away from it.
medium he chooses to convey these moments neatly wrapped and
nicely packaged is art - classical art. If it is vocal in SankaraabharaNam,
it is dance in Saagara Sangamam, if it is instrumental in Sirivennala,
it is vocational art in Swayam Krushi. The art that gradually
is getting lost in the evolutionary process of times, tastes
and attitudes. Sankara Sastry chides Sarada in front of his
prospective in-laws for mis-stepping boundaries and wandering
away from norms and traditions ("ala swara sankaram chaeya
Daaniki siggu laeduTae neeku"). He atones his outburst
at his innocent kid by offering haarathi right in his palm.
While he retires to bed (but still unable to sleep because of
the burnt palm), Sarada comes in with a cup of butter, gently
applies to his palm and STARTS TO SING THE SWARAMS IN THE WAY
IT IS MEANT TO BE SUNG. Words need not say more. It is not a
question of finding words to the occasion, it is a situation
where no more words are needed.
quintessential Viswanath moment
here for the Part 2)
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