Attingal: It is not often that aesthetically good films come to Attingal. The theatres are flooded with slapstick comedies and gung-ho action ‘boredies’ of various languages. So when the latest offering from Adoor Gopalakrishnan (internationally the most famous and easily the best director from Kerala) ‘Naalu Pennungal’ (Four Women) came to the town, it was like stream of fresh celluloid. The film is being shown in Ganga Theatre in Mamam, which is undoubtedly the best theatre in Attingal. I cajoled an uninterested friend into coming with me to watch the movie yesterday. As I expected, there was lukewarm response for the movie: Only seventeen people were there. The watchman told me there were more people for the matinee on Sunday.
The movie, one has to say, not belong to the cinematic heights set by Adoor Gopalakrishnan in films like Mukhamukham and Vidheyan. Perhaps the theme of problems faced by women was a bit alien to Adoor’s psyche. The film is based on four stories written by Thakazhi Sivasankara Pilla, a widely read, Njanapith award winning writer of yesteryears, who is rather forgotten these days. The director has taken the liberty to deviate from the original story line, whenever necessary to compensate for the change of medium. The film is also in the form of four short films. The film, needless to say, is technically perfect and thought-provokingly symbolic. But the issues on offer are rather clichéd. Mention must be made of the beautiful background music scored by Isaac Thomas.
Although there were only seventeen people, there was an irksome presence in the theatre. A middle-aged couple sat behind me and started talking after the first five minutes. Clearly they had come with the intention of seeing Kavya Madhavan and other popular stars like Mukesh and Padmapriya. But soon they realized that this is no their cup of tea. They began their talking by wondering about when Kavya Madhavan would appear. They cannot resist commenting on the visuals being shown on the screen. It was like a live film review of the lowest standard. Soon their talk plunged into mere gossip. After some five minutes, unable to bear the loud chatter, I shifted my seat.
The movie, one has to say, not belong to the cinematic heights set by Adoor Gopalakrishnan in films like Mukhamukham and Vidheyan. Perhaps the theme of problems faced by women was a bit alien to Adoor’s psyche. The film is based on four stories written by Thakazhi Sivasankara Pilla, a widely read, Njanapith award winning writer of yesteryears, who is rather forgotten these days. The director has taken the liberty to deviate from the original story line, whenever necessary to compensate for the change of medium. The film is also in the form of four short films. The film, needless to say, is technically perfect and thought-provokingly symbolic. But the issues on offer are rather clichéd. Mention must be made of the beautiful background music scored by Isaac Thomas.
Although there were only seventeen people, there was an irksome presence in the theatre. A middle-aged couple sat behind me and started talking after the first five minutes. Clearly they had come with the intention of seeing Kavya Madhavan and other popular stars like Mukesh and Padmapriya. But soon they realized that this is no their cup of tea. They began their talking by wondering about when Kavya Madhavan would appear. They cannot resist commenting on the visuals being shown on the screen. It was like a live film review of the lowest standard. Soon their talk plunged into mere gossip. After some five minutes, unable to bear the loud chatter, I shifted my seat.
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