Friday, August 05, 2016


The late 80s, as I recall, was a fairly productive period for Kannada cinema. Every so often there would appear an unmistakable classic - Minchina Ota, Accident, Tabarana Kathe to name a few. Yet, you could already see that, at the time, the film industry was increasingly getting peopled by untalented star kids, and was driven by a sycophantic fandom which had abysmally low standards and zero expectations. The downward spiral into mediocrity was almost too inevitable. There were the odd ones in the industry, like G Kasaravalli, who toiled on and won awards in obscure film festivals, but their work had a perception of inaccessibility that never made them garner mass appeal. The rest of the industry, meanwhile, doled out drivel week after blighted week, in a trend that continues to this day.

Amidst that bleakness comes a movie like Thithi that breaks all the cliches and formulae, both of the commercial and arthouse cinema of this region. It’s about poor people but does not use poverty to invoke pathos. It’s set in a village but does not use the rural setting to imply some imagined purity or innocence. It uses the delightful Mandya and Hubli accents but not just for comic relief. It is realistic (doesn't even employ real actors, for gods' sake) but does not make realism an end in itself. It packs loads of humour but does not need an over-the-top ham actor to invoke cheap laughs. And in Gaddappa it has one truly memorable character. On the surface he is a simple old man addicted to his disposable bottles of cheap liquor. Yet he carries a mysticism of someone who has accessed higher truths. That the director manages that sophistication of character-building with a non-actor is what makes this movie a true master class.

The movie is an experience, but it’s not flawless. The visual finesse (the one thing that Indian cinema seems to be getting right lately) is missing. The subtitles are horrendous. The casting of ordinary people as actors makes some of the performances stilted, but yet the movie gets most other things right. The social commentary is spot on. For instance, it accurately captures how my people are least concerned about the living, but every person and his uncle makes it his business to have a say in how the rites of a dead man have to be conducted. My favourite part, though, were the last few frames. The final scene melts the fourth wall in the most delightful way. Are we watching the movie or are the characters in that movie watching us back?

As the lights came back on in the movie hall, I admit I felt a wee bit of parochial pride as I reminded myself that this was a kannada movie in its fourth week still being watched by a sellout crowd in an upmarket multiplex. The movie was even reviewed by The Economist. I don’t believe that’s ever happened before to a movie from this state! Every slightly watchable movie sparks off talks of a renaissance among us, but it has usually turned out to be a false dawn. This time, though, I'm daring to hope.

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