Kanchanasita

Aravindan’s Kanchanasita
Film Form meets Mythic Imagination
C.S Venkiteswaran
Kanchanasita stands out from the usual thematic terrains of the
Indian ‘new wave’, and more strikingly from all the norms and
conventions followed by popular films made out of Ramayana.

“Your interpretation of rama-rajya is not retellings of Ramayana in Indian tradition.

acceptable to me” Through time, it has taken different forms
-Rama to Bharatha in/of literature, theatre, arts, television and
“Is purusa distinct from prakrti?” cinema. In the words of Paula Richman,
-Urmila to Lakshmana “Ramanujan (AK) likens the Ramayana
tradition to a pool of signifiers that includes
There have been various oral, textual, plot, characters, names, geography, incidents
performative and visual renditions or and relations, arguing that each Ramayana

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can be seen as a “crystallization”i. Ramanujan and poignant critique of Rama through her
considered Ramayana as’’a second language ruminations.
of a whole culture area..” , a text whose The cinematic adaptations of Ramayana
cultural vibrancy is evident in its many too have a long and rich history with films
and varied retellings through centuries, in repeatedly being made in various languages
different social, ethical and political contexts, across the country during the last 100 years of
and in various languages across the continent Indian cinema. Right from Dadasaheb Phalke’s
and in diverse mediums ranging from the Lanka Dahan (1917), the saga of Rama and
oral to the televisual. Through its long and Sita has persisted in Indian cinema either in
rich history, it has been used to express and the form of direct adaptations of the Valmiki
expound diverse ideologies and political text or as its various vernacular renditions,
interests, pain and dreams, hopes and anger and sub-texts invoking several situations in
of different cultural groups in different social the epic and its characters: one comes across
contexts: “The Ramayana provides Kampan maryada-purushas like Rama who are ready
with the language to express the complex to sacrifice everything to uphold dharma,
relationship between god and devotee; it the undying love between brothers like that
furnishes the Ramnamis with quotations to between Rama and Lakshmana, various
use in sophisticated debate; it lends Dutt the forms of vana-vasa (sometimes self-inflicted
ability to articulate the colonial dilemma of otherwise due to familial conspiracies)
cultural ambivalence; it provides Thai kings followed by the victorious return back home
with the vocabulary of political legitimacy. after winning the world, the irrepressible
Sita’s trials give Telugu Brahmin women a lust for other’s wife, abduction and the final
way to talk about a husband’s neglect, while price paid for it, the victory of justice over the
Ravana’s situation enables E. V. Ramasami forces of evil, the self-effacing, unquestioning
to polemicize about Tamil separatism. dedication to one’s master like Hanuman, and
Theological, sexual, and political discourse: also self-centred step-mothers like Kaikeyi,
all emerge from the great pool of Ramayana the sufferings and sacrifice thrust upon
tradition. The cultural uses of the Ramayana women like Sita who have to prove their
are manifold and ever changing. Particular purity and chastity in front of society, and
groups at particular times in history develop the tragic plight of outcastes like Shambuka
an elective affinity for specific characters. who dare to pursue their own inner urges, the
Valmiki currently attracts the affection of wily machinations like that of Manthara that
certain jatisof sanitation workers, Sita has ruin a happy family, the havoc that gossip and
traditionally elicited the empathy of long- suspicion can wreak on family life etc.
suffering wives, and the proponents of a
Importantly, in all art forms and
separate Tamil state have identified with
performances like literature or theatre,
Ravana. Clearly, the significance of the
the retellings of the epic have critiqued
Ramayana goes beyond specific texts to
and interrogated the brahminical and
encompass twin processes that lie at the heart
kshatriya ideals it upholds, bringing to the
of culture. Thus some tellings of the Ramayana
fore the marginalized and silenced voices
affirm the hierarchy found in social, political,
and characters from within it. But, in
and religious relations, while other tellings
stark contrast, the rama-kathas of Indian
contest that hierarchy” (ibid p 14-15). There
cinema (and television) have consistently
are examples of such retellings in Malayalam
maintained a near total submission to the
too like KumaranAsan’s ‘Chinthavishtayaya
kingly ideals and manly and valorous exploits
Sita’ (Reflective Sita/1922) a long poem that
of Ramaii. Almost all the retellings in film
places Sita at the centre and makes a trenchant
fall broadly under the genre ‘mythological’

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 Kanchanasita
in their narrative style and vision, form
and treatment. Characters like Rama, Sita,
Hanuman, Ravana, Lakshmanaetc are given
superhuman dimensions and divine powers;
the settings of the story, the palaces, chariots
and costumes are all arrayed in glittering
splendor; the dialogues are grandiloquent
and stylized, costumes lavish and regal.
Rarely have films taken any liberties with
the portrayal of characters, the dramatic
situations or ethical conflicts in the epic,
especially when it comes to the mythological
figures. It is in this context that Aravindan’s
Kanchanasita (1977) assumes a unique
and ‘iconic’ status not only among the film
versions of Ramayana, but also amongst the
‘new wave’ films of the 1970s’ and 80’s that
very rarely dealt explicitly with epic stories or
as adaptations. Aravindan’s Kanchanasita is
an exception on various counts. It stands out
from the usual thematic terrains of the Indian
‘new wave’, and more strikingly from all the
norms and conventions followed by popular
films made out of this epic.
The film is based on a play by CN
Sreekantan Nair (The film is also dedicated
to him), which forms part of a trilogy
based on the epic, offering a very different
interpretation of the Valmiki story.
Aravindan’s Kanchanasita takes off from
the play and is a unique experimentation in
cinematic form and narration, and also a free
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and radical ‘retelling’ or re-interpretation of
the both the epic and the play.
The play draws its plot from the
Uttarakanda of Ramayana, and is
melodramatic in form, replete with fiery
dialogues and exchanges between various
characters, involving intense emotional and
ethical conflicts. The play features Rama,
Lakshmana, Urmila, Kausalya, Sita, Shambuka
and his wife, Vasishta, Valmiiki, Lava, Kusa
and finally Hanuman and the attendants of
Vasishta and Rama as characters. The film,
in stark contrast, is extremely minimalist in
approach: it has fewer characters and almost
no dialogue. Instead of drawing upon the
potential for dramatic acting performance
and speech effects in the play intended for a
theatre audience and setting, Aravindan picks
only the key characters and scenes, and does
away with long dialogues. The focus of the film
is more on the ethical conflicts and essence
of each character and in envisioning the
dramatic content and action in visual terms
rather than through dialogues or action.
The Narrative Sequences
Aravindan’s earlier film Uttarayanam
was structured in the form of a series of
journeys of the protagonist. Similarly,
Kanchanasita’s (which is also his first film in
colour) narrative unfolds through a series of
emotional and ethical conflicts, encounters
and confrontations between characters. The Rama reaches out for his arrow and calls out
settings of the narrative also keep shifting to Shambuka. Upon hearing this, his wife
between two distinct domains: one, the site of runs up and falls on Rama’s feet, crying out,
power Ayodhya/Kingdom and its other, the ‘Don’t, don’t..’. In a close-up, we see Rama’s
forest, which here, is the site of austerity and face, looking intensely at Shambuka, and then
creativity. Shot mostly in the exteriors, the slowly turning towards Lakhmana, whose
characters are always shown as encompassed gaze slowly shifts from Shambuka towards
or engulfed by the surroundings; mountains his wife. In a midshot, we can see Shambuka
and cliffs loom large over the characters, the continuing his tapas, oblivious of everything.
rivers flow past along expansive river beds, The camera returns to Rama’s face looking at
the foliage of verdant green forests cover the Shambuka, when the soothing sound of flute
skies, and the sun rises and sets over vast, wafts in, and Rama lifts his head skywards.
desolate landscapes. It is followed by a tracking shot from below
pointed towards the sky; now, we can see the
The First Encounter – Rama and glint of the sun through the thick foliage of
Shambuka, the Shudra Sage the trees. Notably, the movement this time is
in the reverse direction: the soothing music
The opening credits appears with the shot
and this reverse tracking of the camera not
of a vast river bed – and as the camera pulls
only indicate their return journey, but also of
out, one can see a desolate expanse of land with
Rama’s act of mercy to the plea of Shambuka’s
a river flowing by and the hills skirting it on
wife. As the music ends, the scene shifts to a
the other side. The sound of drums resounds
vast hilly landscape where cows are grazing
in the background, and we see two people,
beside a river. We see the brothers walking
one followed by the other walking briskly
below a huge rock face that looms above; the
along the river bank, armed with bow and
two human figures are puny and insignificant
arrows. It is Rama and Lakshmana on their
against the mighty and vast landscape that
way to punish Shambuka the shudra sage who
envelops them. Approaching the river, Rama
dared caste rules and is performing tapas. As
sits on a rock, and Lakshmana remains
they enter the forest, music comes to an end
standing beside him. This shot is cut to the
and we can hear their footsteps. Suddenly,
reflection of their images on a pool of water
the sound of a bird’s cry can be distinctly
below. A pensive Rama then throws a pebble
heard in the background. In sharp contrast
into the water to shatter their reflection, and
to the open and monotonous atmosphere of
says, “A King should not dream”. The camera
the land they traversed, the forest is verdant
returns to their reflection in the water – where
green and full of trees. In a tracking shot
a gentle breeze ripples over the upside down
with the camera directed upwards, we see
image of the armed brothers.
the sky through the thick foliage of the
trees. The camera gets closer to follow the The images of landscapes, human
duo from behind; it is obvious that they are figures and the camera movements of the
looking for someone. Suddenly Rama stops opening sequence, set the tone and thematic
and looks around, turns to his left, and walks framework of the film. The contrast between
down a forest path. The bird’s cry is heard the vast but desolate land (Rama’s kingdom)
again. They walk down to the place where and that of the forest, thick and live with
Shambuka is performing tapas; he is hanging trees and natural sounds where Shambuka
upside down from a tree with his hands is meditating, is striking. While the camera
joined in prayer. His wife is sitting below on slowly pans over the landscape with the tiny
the ground, tending to the fire pit burning human figures moving in it, it emphasizes
under him. Standing at a distance from them, both the insignificance of the human presence,

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and the desolation of Rama’s Kingdom, the
domain of political power. In comparison,
the forest is a domain throbbing with life,
where humans have a larger presence than in
the ‘kingdom’ and later in the ‘palace’ scenes.
Forest is also an intense space of meditation
and austerity. The confrontation between
Shabmbuka and Rama also points to many
moral conflicts that underlie Kanchanasita: it
is enacted here as a conflict between the forest
and the kingdom, state and subject, political
and spiritual powers, powerful and powerless,
the state and the subject, and between the
brahminicalvarna order that the Kshatriya
dynasty wants to assert as against the spiritual
yearnings of the oppressed and the outcast.
What is enacted in the opening sequence
parallels the birth of the epic. Here, Rama
too is about to commit the same brutal act
(which he will eventually commit later in the
film) of killing one among the love pair (here,
sage Shambuka is doing tapas along with his
devoted wife). It was one such act of murder
when he saw the hunter killing the male lover
among the bird pair that provoked the poetic
utterance from Valmiki’s mouth of the first
lines of the epic. The sound of bird’s cry that
is repeated twice in the forest scene brings to
mind the memory of that grieving bird from
the epic and its painful cry of separation.
Another parallel is that of spiritual pursuits
and varnashrama dharma. What Rama is
trying to prevent or punish here, ironically, is
the conduct of tapas, by Shambuka, a low caste
who, by this act is challenging the varna order
and in turn, the power of Solar dynasty that
is obliged to maintain the caste order. There
is also an ironic parallel here with regard to
the spiritual/ritual pursuits of Rama and
Shambuka. In the coming scene, Rama will
be asked to perform aswamedhayaga, which
prescribes the ritual presence of both the
husband and wife; Rama, having relinquished
his wife for flimsy reasons, will be forced to
substitute her presence with a golden image of
her. In contrast, here is Shambuka performing
tapas along with his devoted wife, and is being
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punished and threatened by Rama. It could
also be seen as a confrontation between Sun
and Fire: Rama, the descendent and king of
the Solar dynasty, representing the sun above,
is face to face here with Shambuka, who is
meditating, hanging upside down with the
fire below him.
In Kanchanasita, dialogues are very
sparse and few between, most of them are
either monologues, commands, instructions,
wails, cries or recitations. The two instances
of spoken words in this sequence are crucial.
The first one is Rama calling Shambuka,
followed by his wife’s plea: ‘Don’t..’ This plea
against murder immediately reminds one of
the inaugural verses of the epic that Valmiki
utterediii; If Valmiki’s plea to the hunter was
too late, here it comes before the act, and
succeeds in its mission, though, only for the
time being. The next utterance is by Rama
to Lakshmana as they sit by the river, where
he says, “A King should not dream” - which
is more of a monologue, and a glimpse into
Rama’s mind. It is an utterance that reveals
the dharmic conflicts of Rama, a King who
is torn between human justice and varna
laws, the violence that kingship demands and
the compassion he feels as a human being.
Between these two acts of Rama in that scene
– of throwing the pebble on his reflection
in the water and uttering the above words,
there is a brief montage of images of ragged
and cracked rock surfaces carved by ravages
of time, undulating land formations of silt
along the river, and the patterns of sand that
the flow of the water has formed on earth
surface. This montage is accompanied by the
sound of water flowing, again marking the
relentless flow of time. They are all marks left
by the flow of time or the resistance of matter
against its inexorable ebb and tides. The
act, monologue and these images together
sum up the predicament of Rama, a mortal,
caught in the cycle of time and delusions of
space (Surya Vamsa and Ram rajya), and of
the human tragedy that is ever repeating yet
unavoidable..
 Kanchanasita

Encounter with Urmila – the latter looks at her and then away, before
The Female Conscience he makes an evasive reply, that they didn’t
have the good luck of enjoying Valmiki’s
The next sequence begins with another
hospitality. (In the film, whenever Rama is
montage, this time of parts of the facades of
questioned about Sita, similar evasiveness
a dwelling hewn out of rock; we see carvings,
persists). She continues to openly express her
entrances cut out of rocks, empty corridors,
resentment through an acerbic remark that it
and dark interiors. The montage end in a
is only natural that they didn’t meet Valmiki
medium close up of the face of Urmila, who
the poet, whose heart sang out in pain at the
is waiting for the return of Lakshmana and
sight of a lover bird being killed. At this point,
Rama. As Lakshmana enters, she bends down
Lakshmana intervenes, but Rama stops him.
to touch his feet. As she straightens and raises
All withdraw into silence, and another set of
her face to his, their eyes meet. Her face
looks of and between Rama and Lakshmana
lights up for a moment at the reunion, but
follows before Rama pensively looks up and
soon darkens into anguish and resentment,
says (as if to himself): ‘The king’s throne is a
while Lakshmana looks down with guilt as he
hearth of fire’. In the next shot which includes
stands facing her. Following the direction of
all the three, Rama continues, “Sita’s husband
his look, the camera focuses on Urmila’sfeet
is only a servant of the people”. The melancholy
that turns away from him, as she takes a few
notes of flute rises as Rama walks away from
steps away and stops near a wall. In a mid-
them. This scene end with a handheld, point
shot, we see Lakshmana’s guilty face slowly
of view shot that moves through the dark
lowering itself, unable to stand her gaze.
empty corridors and interiors of the cave. It
To her barrage of questions about their trip
is a move from the external to the internal,
to Dandakaranya and not visiting Valmiki
from the uttered words to a mindscape that
Ashram where Sitastays ,Lakshmana has no
is unable to find a way out from the dark,
answers; he keeps silent with a guilty, sad
narrow corridors of power.
stare. When Rama enters the scene, they both
bow down to touch his feet. Here too, there is
a series of looks where Rama closely looks at The Wail for Sita
their faces and asks Lakshmana why Urmila As the music continues, the scene
is unhappy. Rama’s query is answered by suddenly shifts to a vast desolate, ochre
Urmila; she asks whether they had not passed landscape with a huge rock in the mid-ground.
Valmiki’s ashram in their journey. Another Rama is a tiny speck in the landscape, walking
exchange of looks between Rama and Urmila towards that rock. He goes and sits under it.
follow: while Urmila looks straight at Rama, The tight close-up of Rama’s brooding face

.................................................................................................................................. December 2020 35

lingers for a few moments, which is then cut
to an extreme long shot of the setting sun,
with Rama running forward, towards the
camera, screaming, ‘Sita…’. He doesn’t wear
a head gear now, his hair is in disarray and
he calls out to her, running with raised hands,
as if pleading for mercy and redemption. In
the first two shots Rama is running with the
setting sun in the background and in the third,
we see only its reflection on the ripples of the
river. The camera returns to the tight close up
of Rama’s melancholy face. The shot of the
setting sun is repeated again to conclude the
sequence.
With these two sequences – the encounter
with Shambuka and later with Urmila, Rama’s
political and personal conflicts are revealed
in all its complexity. The next sequence is a
kind of interlude before the next phase of the
narrative – the proposal for Aswamedhayaga
is made, which triggers a new series of external
confrontations and internal conflicts.
The Interlude
The camera pans through the misty
landscape with thick forest in the distance,
the calm waters of the river, and the hilly
terrains, with the resounding beats of
mizhavu drums in the background. It is
followed by the close up of the drums and
the hands beating them. This shot acts like a
caesura between dramatic developments, and
also as a return to the tranquil exteriors from
36 Unkw_À 2020 .....................................................................................................................................
the troubled minds of the characters and
the gloomy confines of Rama’s rock-palace.
These scenes of primordial landscapes and
music function as a break in space and time:
the spatiality of Rama’s kingdom which is all
about borders and its extension, that seems
meaningless against the towering mountains
and tranquil rivers. This also creates a break
in our experience of temporality measured
in days, years and aeons. The transience and
insignificance of the human and the worldly
ambitions of power over earth are hinted at,
just before the narrative enters the next stage
when Rama relents to the instructions of sage
and guru Vasishta to perform horse sacrifice
to re-assert his dynasty’s supremacy over
land..
The Entry of Vasishta and the Horse
Sacrifice Proposal
This sequence too begins with the shot
of a vast, desolate landscape, with three tiny
figures walking from a distance; the one
of front is carrying a saffron flag and the
sound of the conch rises in the background
announcing the arrival of the guru. As they
approach the ‘palace’, Rama peers up through
the rock doorway, listening to the sound of
the conch. Vasishta enter the palace with his
assistants, and Rama greets and welcomes
him inside. After they both sit facing each
other, there is a moment of silence when both
gaze at each other. The guru then praises
the prosperity and greatness of Rama rajya, painted for a festive occasion. Then we see a
which Rama very humbly attributes to the series of dancers with drums, wearing head
blessings of the ancestors. Vasishta proposes gears with bull horns and peacock feathers.
Ashwamedhayaga (Horse Sacrifice Yaga) They dance a war dance, drumming, dancing
to make this prosperity everlasting. Rama and ramming into each other’s heads. As their
is hesitant, and reminds the sage about the dance movements climax and come to an end,
ritual requirement of one’s wife to perform the totem poles are brought down, marking
it. Vasishta has no hesitation in suggesting the end of the celebration.
a remarriage, but Rama considers it as a This scene, which functions as an
never-ending curse of Ayodhya. Vasishta interlude is the only scene where we see the
sternly reminds Rama that nothing can be an ‘people’ of Ram rajya. This animal-dance that
impediment to yaga and nothing impossible mimics fight and show of strength also acts
for a king. After a long pause, Rama replies, as a prelude to the impending conduct of the
as if to himself: ‘I’ve come to learn that..’ Ashwamedhayaga.
Followed by the shots of the faces of Vasishta
and his assistants, we see Rama getting up to Preparations for the Yaga
bid farewell. We don’t see the sages walking
away, but it is indicated by the moving gaze This sequence too begins in the setting
of Rama and Lakshmana, and the receding of a vast landscape where we see Bharatha
sound of the conch. As a pensive Rama walking along the river bank. On the way, he
walks away, Lakshmana calls out to him, drinks water from the rivulet and gazes up.
‘Oh, King..’ Rama stops and slowly turning There is a sense of expectation or uncertainty
towards Lakshmana replies, ‘Kumara..’ in the air. Interestingly, it is the flow of water,
(younger brother). It is significant that while its mellifluous sound and the marks of
Lakshmana addresses him formally, Rama footsteps on river sand that mark the entry
responds to him emotionally, once again of Bharatha. These visual and aural signs
revealing the conflict within him between the seem to indicate the gentle and down to earth
uneasy role of the king and his desire to be character of Bharatha, whose sense of justice
human. is rooted and humane.
In this crucial sequence too, dialogues Meanwhile, Lakshmana bids farewell to
are sparse and minimal. The entire exchange Urmila before he proceeds to the yaga site.
between Vasishta and Rama, and later It is the only scene where there is a one-to-
between the brothers, is conveyed through one and warm verbal interaction between
the drama of looks. While the sage looks the couple. After a long silence punctuated
at Rama authoritatively and unflinchingly, by the lingering looks of both – one helpless
Rama’s look is pensive and disturbed. Rama’s and melancholy, the other stern and direct
utter inability to oppose Vasishta or to accept -Lakshmana addresses hertenderly: ‘Devi..,’
his proposal is evident in his downcast eyes and informs her about their impending
and distraught looks. Between Rama and journey to the yaga site. In reply, she asks
Lakshmana too, the same pattern of gazes him, ‘Is man separate from nature?’ Like
continues, but here, the looks though helpless, on the earlier occasions Lakshmana has no
are deeply empathetic and fraternal. answer to offer this time too, and continues
to look at her without a word. It is followed
by a series of closeups of Urmila’s face, tears
Another Interlude slowly welling in her eyes. It is one of the most
A series of pan shots of the landscape, the poignant scenes in the film, where emotions
hills, the verdant valley, and the cloudy sky are explicitly conveyed and expressed.
follow, as the camera tilts down a totem pole

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Confrontation2 -Rama and Bharatha asceticism and mantras that Arya dynasty
When Bharatha enters the palace, Rama flourished, but through the blood that
is visibly pleased, as is evident from the gushed through the five rivers.. Is the king
smile on his face and the warm embrace with a servant of the priest?
which he receives him, calling him ‘Kumara..’ Rama: The servant of Ultimate Knowledge
Like Lakshmana, Bharatha too responds (brahmajna)
back formally as ‘Adiyan..’ (‘your obedient Bharatha: I haven’t known the
servant’). Urmila watches them from a interpretation of truth, but I’ve known
distance and her face too brightens with a truth..
smile at the sight of brotherly love. It is also Rama: The truth of a king is the welfare of
the only ‘happy’ occasion in the film where the subjects
characters meet cordially, and where love or
affection is openly expressed and articulated Bharatha: What if the wish of the subjects
through words, gestures and greetings. In all were untrue?
the other scenes, there is always some level of (after a pause) Your forced stay in the
inequality and tension – of caste, gender, age, forest – whose wish was it?
power, status etc - that frames the relation and Rama: Of the people
interaction between the characters. Bharatha: But it was the same people who
The rest of the sequence happens in the came crying after you..
open – by the river side, with Rama and (after a pause) Now I am asking the same
Bharatha walking side by side. It is a long question I asked you 12 years ago:
and heated conversation between the two
brothers who are meeting after a lapse of Do you think Sitadevi is chaste?
12 years. Rama begins the conversation in Rama: Sita succeeded in the test of fire..
a very personal note about the long years Bharatha: The very same answer you gave
of separation between them and enquiring me then!
about Bharatha’s wife Mandavi. But on each Rama: Dear brother, what if you were in
occasion, Bharatha’s answers refer back my position?
to Sita, reminding Rama about his double
Bharatha: It would have been my sword
standards on Sita’s unjust banishment to the
that answered the throats which accused a
forest and Rama’s slavish submission to the
chaste woman as unfaithful!
Brahminical order and its self-serving diktats.
Their conversation proceeds as follows: Rama: The meaning that you give to Ram
rajya is not acceptable to me..
Rama: How could you keep away from me
They continue to walk in silence. They are
for 12 years?
now standing near a river.
Bharatha: Separation and sorrow are
Bharatha: Please give me permission to go
nothing new to you
back
Rama: How is Mandavi? She was an
Rama: Kumara....
adornment to Ayodhya
Bharatha (in a stern voice): This servant
Bharatha: King, why block the sun, and
still has the strength to harness the
weep for the firefly?
sacrificial horse of an unjust king!
Rama: I have decided to perform
Rama (takes a deep breath, stares at
Ashwamedhayaga. You are in charge of its
Bharatha, and then looking away): The
conduct
Rama who could sacrifice Sita, is ready to
Bharatha: Hey, king! It is not through sacrifice anything

38 Unkw_À 2020 .....................................................................................................................................

 (He then draws the arrow. Bharatha too being drawn by someone from behind a tree.
draws his arrow) As the camera pans, we see Lava, aiming his
arrow at some target. His eyes are focused as
Arrows drawn up, they both stand facing
he aligns it with the gradual stiffening of his
each other for a few moments when Rama
body as he takes aim. Then we see Kusa by his
looks up as if in response to the sound of
side watching and then exchanging glances
music. The lilting music rises with the sound
with Lava. They both then run along the
of the wind sweeping through the leaves of
forest paths, making sounds and chasing each
the trees above. They both look up moved by
other, playful yet observant and watchful. As
the sight of the swaying trees and to the sound
they run past, Lava stumbles into Valmiki’s
of the wind rustling the leaves. As the music
attire and falls down. He gets up and the both
gathers pace and then fades away, the wind
run along into the forest, with Valmiki’s eyes
softens, and they both turn their faces from
following them endearingly.
the sky to look at each other again. The camera
returns to the leaves rustling in the wind, Meanwhile at the yaga site the horse is
earth and water, accompanied by the sound of set free with attendant rituals. The journey
the flowing stream and the chirp of the birds. of the sacrificial horse begins with the shots
In their argument about the banishment of of it trotting along the forest path, whose
Sita and the relationship between Kshatriyas progress is indicated by the slow sweeping
and Brahmins, Rama gives an interesting gaze of Rama. The accelerating trot of the
answer, that the meaning or interpretation single animal gathers momentum with the
that Bharatha gives to rama-rajya was not shot of more horses trotting over various
acceptable to him. This is an answer that also terrains; their movement and the rising
hints at the possibility of ram-rajya being crescendo of the drums meld with that of
open to different interpretations, thus not flags carrying different insignia flapping in
something flawless and immutable.iv the wind, indicating the victorious progress
of the horse, traversing various lands and
Confrontation 3 - Lakshmana& Lava kingdoms. The sequence returns to the close
up of Rama’s face looking ahead keenly and
As the shots of the trees and the foliage attentively. These shots of horses and flags are
continue from the last scene, the sound of accompanied by drum beats and bugle calls,
vedic chants rise in the background followed the rising rhythms of which indicate forward
by the shots of Valmiki engaged in his daily movement and conquest.
chores at the ashram. Then we see handheld,
point-of-view shot inside the forest, followed The scene cuts back to Valmiki’s ashram
by the close shot of the tip of an arrow that is where, as the camera tilts down the thick

.................................................................................................................................. December 2020 39

foliage and top branches of a tree, we hear
the verses from Ramayana being recited by
Valmiki who is sitting under; the verses are
repeated by Lava and Kusa who sit in front of
him. With the meditative expressions in the
face of Valmiki and the sounds of the forest in
the background, a certain serenity and peace
animate these shots. Valmiki is reciting verses
from the Yuddhakanda (The War Canto) of
Ramayana that graphically describe the war
scene where Rama and Ravana are engaged in
a fierce battle: the verses say, they are ferocious
and armed, their chariots swerving and
rushing, to attack the other. Lava and Kusa
repeat the verses after Valmiki. As Valmiki
leaves, they hear the sound of the sacrificial
horse from the forest and run in search of
the horse. They spot it grazing alone in the
wild, and follow its movements closely from
behind the tree. Distinct music/sound effects
accompany the movements of the brothers
and that of the horse. Lava is intrigued by
its sight, and slowly extends his arm to pull
an arrow, but Kusa prevents him. Unable to
contain his urge, Lava throws stones at the
horse to drive it away, while Kusa runs away
from the scene, apparently to inform Valmiki.
Meanwhile, the scene shifts to Lakshmana
sitting still under a tree gazing ahead, and
another guard leisurely walking through the
forest: obviously both are in charge of the
horse. Sighting something, the guard runs to
Lakshmana to inform him that the sacrificial
horse has disappeared. Lakshmana rushes
ahead through the forest, with the sound of
40 Unkw_À 2020 .....................................................................................................................................
drums following his run. He suddenly stops at
the sight of Lava, who reaches out to pick an
arrow as if to defend himself and his territory.
An exchange of looks follows, with Lava slowly
stepping back to crouch behind a tree. Seeing
that, a smile breaks out on Lakshmana’s face.
He tells Lava that it is a sacrificial horse and
cannot be hindered. Close up shots of the faces
of Lava, Lakshmana and the grazing horse
follow. When Lakshmana moves towards
Lava, an arrow hits the trunk of the tree next
to him, as a firm indication Lava’s intention.
The camera lingers again on their looks – this
time it is more combative and harsh. Closely
watching Lakshmana’s movements, Lava tells
him that he is a Kshatriya, and so, the horse
can be retrieved only after defeating him.
With a playful smile on his face, Lakshmana
asks him if he is sure about it; Lava replies
in the affirmative and draws an arrow.
Lakshmana too draws an arrow, and as both
of them stand facing each other, stretching
the bows to shoot, there is a rustle of leaves in
the wind, and the theme music in rag jhinjhoti
wafts in.. They both raise their heads to look
at the leaves rustling and the wind animating
the surroundings. By then, Valmiki rushes
in to stop Lava from the fight. Lakshmana
greets Valmiki, while Lava and Kusa look on
curiously. When Valmiki questions Lava as to
why he captured the yaga horse, he replies it
was his right as a Kshatriya. Valmiki asks him,
smiling: ‘But do you have a kingdom? Did the
horse enter your kingdom?’. Disappointed and
perplexed, Lava lowers his head, while all the
others smile at him. Valmiki sends them back hindrance or opposition. Significantly, in
to the ashram, and Lakshmana is left alone the film, support and opposition about the
with Valmiki. When Lakshmana asks Valmiki conduct ofyagacomes from several quarters,
about the kids, Valmiki gives an enigmatic perspectives and persons: for Vasishta it
reply: ‘Prince, the undercurrents of life are is essential to establish and expand the
mysterious’. Lakshmana says he understands supremacy of Solar dynasty, for Bharatha,
everything, and lowers his head in guilt, it is unnecessary and the result of Rama
saying: ‘Pardon this sinner’. succumbing to the dictates of the priestly
The encounter with Lava, in a way, brings class, for Shambuka, who follows his own
to the fore one of the major themes of the spiritual path and has nothing to do with
film – the human propensity for violence and Rama’s horse sacrifice, he has to pay for it with
possession, the notion of territory and control his life. In the case of Lava, the sacrificial horse
etc. At the beginning of the sequence, we see is yet another animal entering the ashram
Lava, an adolescent living in an ashram with a precincts that incites his Kshatriya blood
sage, playfully running around the forest with and sense of territory. Only for Valmiki, are
his brother, and studiously reciting verses all such worldly rites and possessions totally
sitting at the feet of his Guru. But, once the meaningless..
occasion arises, he suddenly transforms into
a ‘man’ ready to take arms to kill and defend The Act of Creation
one’s territory. It is also not a coincidence The sequence begins with the close and
that the verse from Ramayana they recite are extreme close up shots of Valmiki’s face,
from the battle scene. We also see Lakshmana deep in thought, intercut with shots of grass
undergoing similar transformation: what shining in sunlight and rustling in the wind;
begins as a playful encounter with a child we see Lava and Kusa playing in the forest,
turns serious as he faces the other, and we see with the notes of raga kamboji rendered in
the loving smile on his face giving way to the Carnatic style on flute in the background.
hard look of a warrior facing his enemy. This sequence is like an ode to creativity,
This is one of the most lively sequences where the wind, sunlight, nature and music
in the movie, with the presence of several together create an atmosphere of intense
characters– Valmiki, Lava and Kusa, introspection and also a creative abandon
Lakshmana and his assistant – and animated or exuberance of sorts. The creative urge in
movements of the horse, Lava and Kusa in Valmiki seems to have been triggered by the
the forest. There are also a series of playful sight of two generations pointing arrows at
and inter-related events – the innocent each other, revealing the irrepressible human
pranks of the kids, the tranquil presence of urge for violence and possession, and the
the poet, the recital of the scene from the blind hunger for power of a political order
Rama-Ravana war, the dutiful yet pensive that is ready to take up arms even against a
Lakshmana guarding the horse, the scenes child to protect and extend its power. Valmiki
of the white horse trotting among the also sees the guilt and regret in the face of
thickets, and the confrontation between Lava Lakshmana, which hints at possibilities of
and Lakshmana, followed by the peaceful redemption and compassion. Maybe the poet
resolution brought about by the awakening sees that the irrepressible urge for violence
of nature and the intervention of Valmiki. and possession inflames not only Lakshmana
Peace is restored, Lakshmanarecognises who is the servant of power, but also Lava,
Rama’s children, andValmiki’s creation of who even without any possession or territory,
Ramayana story takes another step. At the readily takes up arms to ‘defend’ and kill.
other end, the yagaprogresses without any Towards the end of the sequence are

.................................................................................................................................. December 2020 41

extended shots of sunrise, with the first verses
of Uttara Kanda of Ramayana being uttered
by the poet: ‘Praptharajyasyaramasya..’ (They
arrived, the sages from north and south, east
and west, to praise Rama, who was ruling the
country after vanquishing all the rakshasas..)
Interestingly, the Uttarakanda begins with the
eminent sages praising Rama not for killing
Ravana, the rakshasa king, but his son Ravani
or Indrajit. It arouses Rama’s curiosity, which
prompts the sages to recount the history of
Ravana’s dynasty from the beginning.
Aravindan very subtly but strikingly
combines these scenes: one of Lakshmana
and Lava (Rama’s son) drawing arrows at each
other, and the sages praising Rama for killing
Indrajit, the valiant son of Ravana. In the film,
the scene shifts to the rituals of yaga, which
again has more to do with the expansionist
urge of the empire and the re-establishment of
the caste order where the rulers (kshatiryas)
are firmly and unquestionably subservient
to the Brahmins. Like the sight of the hunter
killing the lover-bird that originally triggered
the imagination of the poet to compose
Ramayana, a similar scene is re-enacted
here – that of Lakshmana pointing his arrow
at a child, leading Valmiki to compose the
epilogue to his epic.
The last part of the sequence, when the
poet composes the first verses of Uttarakanda,
we see him, and later Lava and Kusa, walking
along forest paths, followed by the long and
sustained shot of sunrise, again reminding one
of the solar dynasty that Rama belongs to and
wants to make prosperous. Ironically, though
the yaga is conducted for the prosperity of
his dynasty and its lineage, Rama neither has
his wife or his children with him – he had
banished the former from his land, and he
doesn’t know the existence of the latter.
The ambience of the forest predominates
this sequence: with the serene surroundings of
the Valmiki’s hermitage, which is the site and
source of his creativity, and a peaceful abode
of knowledge resounding with Vedic chants.
It is also a free, open space animated by trees,
42 Unkw_À 2020 .....................................................................................................................................
animals and birds, we don’t see any dwelling
places or man-made structures here. It is into
this domain that the sacrificial horse and the
soldier-guardians of the Kingdom intrude.
There are several tracking shots that follow
the horse, the young brothers, the guard
and Lakshmana running amidst the thickets
and foliage, emphasizing the ubiquitous and
overwhelming presence of nature, verdant
green and fertile. It stands in stark contrast
to the vast, ochre and desolate landscapes of
the Kingdom, and the rock cut palace. In the
register of human figures and landscapes, the
importance of human bodies and presence
become more significant in the interiors
and the forest, whereas it is insignificant and
minute against the expanse and might of the
landscape.
Acts of Creation & Sacrifice
The next sequence is a series of scenes
that follow the various stages of the yaga
intercut with Valmiki reciting the verses
from Uttarakanda. While reciting the
verses, Valmiki and Rama’s sons are also
walking towards the site of yaga. Both these
acts – of stages of sacrifice and the process
of creation (of Valmiki narrating the story
of Rama) - move towards a culmination
where the narration will join the narrative,
where characters in the narration meet with
themselves in reality.
After the utterance of the first verses of
the Canto, the next sequence begins with the
horse running freely along forest paths with
Lakshmana and his assistant following it.
Then we see the elaborate rituals that precede
the yaga: Rama measuring out the perimeter
of yaga site with his feet, trees being cut down
to build the yagasala, accompanied by the
beats of mizhavu drum on and off screen.
Then we see Vasishta giving instructions
about the layout of the ritual space, and
Bharatha and Lakshmana standing guard.
Rama enters carrying the golden image of
Sita in his hands and places it on a pedestal in
front of the ritual fire pit. He is accompanied
by Vasishta and other priests who carry ritual climax and abruptly comes to a stop. The shot
objects and implements, and recite mantras. is cut to the medium long shot of Shambuka’s
The priestly attendants ignite fire by churning wife sitting under a tree with the murdered
arani, and conduct other rituals of the yaga body of her husband on her lap. It is a pieta
with Rama and Vasishta seated in front of the like image that persists for some moments
fire pit. The scene is cut to Valmiki walking before it is cut to the close ups of the blood-
with Lava and Kusa on both sides reciting spattered face of Shambuka lying dead, and
verses from Uttarakanda. The vedic chants of his wife, tears flowing from her eyes. This
of the yaga in the previous shot is cut to the shot is cut to the close up of the horse’s face,
voice of Valmiki reciting verses. They are on spattered with blood, and writhing in pain
their way to Ayodhya. This time the verses in death throes. After a montage of different
are about a wailing Sita being abandoned in parts of the horse’s body in its last pangs, the
the middle of the forest, and Valmiki’s young shot shifts to a close up of Sita’s golden image
disciples finding her all alone in the forest and in front of the ritual fire. The golden image of
reporting it to him. Sita, seen through the flames, seems to flicker
and flare. This montage makes a startling
Confrontation 4 - connection between the three images: that of
Rama and Shambuka Shambuka, the horse and the golden image
of Sita, an outcast, an animal and a woman,
The camera dwells upon various rituals all sacrificed for the sake of power. There is
of the yaga, like the priests reciting mantras, only the sound of cackle of the burning fire
pouring of ghee and other ritual materials into in the background, as the shot cuts to a close
the fire pit, the cows and the ritual horse being up of Rama’s face, which looks pensive and
attended to etc. The news that Shambuka has introspective. He seems to gaze at the image
commenced his tapas again is reported to of Sita placed in front of him across the fire.
Rama. This time Rama’s face looks agitated, The horse being sacrificed, and the final ritual
and his decision to take punitive action is of soma pana (drinking of Soma juice) takes
indicated through the expressions of both place, in which Rama, Vasishta and all the
Rama and Lakshman, who turn their faces priests participate. This ‘serene’ and joyous
to one side to the rousing sound of drums. It completion of the yaga, and the victorious
is followed by the low angle shot of the thick congregation of the king and the priests
foliage of the forest, through which one can stand in stark contrast to the sight of the
see the glints of the sunlight. As the shot dead Shambuka lying on the lap of his wife,
proceeds, the sound of the drum reaches a desolate and forsaken.

.................................................................................................................................. December 2020 43

Confrontation 4 –
Valmiki and Vasishta
This sequence begins with the shot of
Valmiki, walking along with Lava and Kusa,
reciting verses. The story of Uttarakanda
has progressed further: the verses recited
are about the birth of Lava and Kusa at the
Ashram, and the disciples informing Valmiki
about the birth of the twins. They say, “Rama’s
wife has given birth to two boy children.
Please bless and protect them from malignant
effects”. As he recites the final verses, they have
already reached the yaga precincts, and we see
Vasishta, seated in the ritual site turning his
face towards the direction from which the
recital is heard; his gaze is followed by similar
shots of the faces of the other priests turning
in the same direction. As Valmiki enters the
yaga site with the twin brothers, Vasishta and
the priests rush forward and stop them on the
way. A verbal exchange between the sages –
one a poet, and another a royal priest, follows:
Vasishta: Sage, please do not destroy the
power of the Aryan dynasty..
Valmiki: For Valmiki, every phenomenon,
living and non-living beings, are diverse
manifestations of the primal energy from
which everything emerges. There are no
distinctions like Aryas or Dasyus for me..
Vasishta: For a people’s progress, mere
poetic imagination is not enough.. You are
a poet, but..
44 Unkw_À 2020 .....................................................................................................................................
Final Reunion – Rama with his
Children, Rama with Nature
At this juncture, Rama enters from
behind the priests, and walks towards Valmiki
and the kids. He looks at the kids very closely
and recognizing them, he lunges forward
and hugs them, calling out to the sage. As
they hug, the shot is cut to the yaga structure
being burnt down (which is the final part of
the yaga ritual). It is followed by the shots of
the wind rustling the leaves, accompanied
with notes of music on sarod, sitar and flute
in the background. It ends with Rama looking
up at the leaves and the sky, and finally all
the three together watching the ritual site
burning down. Holding his children on both
sides, Rams cries out, ‘Sita..’ and the children
too call: ‘Mother…’ The shot ends with the
final burning down of the sacrificial site, its
remnants flying up with the vapors..
The last shot of the film is an extended
one of Rama carrying the sacrificial pot with
fire in hand, walking down into the Sarayu
and river; his image gradually disappears
into the shimmering ripples of the river, with
the sound ofthumburu resounding in the
background..
This final sequence is one of reunion,
physical and metaphysical, and also of
Rama’s inner reconciliation and self-release
from the bondages of worldly life and kingly
duties. Upon recognizing his children who
have come with Valmiki, he rushes forth to
embrace them, crossing the barrier of the The confrontations too are presented in a
priests. Later, when the yagasala is put to fire different way: in the conflict between Rama
to complete the ritual, he along with his sons, and Bharatha, where they both draw swords
call out to Sita. Having completed his life (not arrows as in the film), it is Kausalya who
mission as it were, and finally reuniting with enters the scene to pacify them. Likewise in
his children, Rama leaves the world behind. the play, during the confrontation between
He walks into Sarayuriver, not as a king, but Lava and Lakshmana, only Lava draws the
as a human being. But the fire pot he holds in arrow, and Valmiki rushes in to dissuade him
his hand still burns. It could be a reminder of from the act.
Sita, whose purity was tested through fire, and In the play, Sita too accompanies Valmiki
also the residue or symbol of the yaga that was and her sons to Ayodhya and appears before
successfully completed. Having completed Rama in his court. Rama finally agrees to
his duties as a king (for he wears no marks of accept her but on the condition that she
kinghood on him), Rama calmly returns to should make a vow of purity again in front
nature. It is his return to earth (Sita’s mother) of the court. Humiliated by such a demand,
or the final merger of all the elements: the fire Sita disappears into the earth. The play ends
in his hand, water of the river, the red sky, the with Valmiki’s words: ‘Sita never perishes, Sita
air and the earth. is prakriti..’
In the play, the figure of Rama, his inner
The Play and the Film conflicts and dilemmas, are portrayed against
C N Sreekantan Nair’s play has four an array of characters; each one representing
acts happening entirely in the interior, and values and worldviews complementing or
involves more characters like Sita herself, conflicting Rama’s. When Vasishta and other
apart from Kausalya, Hanuman etc. While priests force Rama to assert and expand the
Sita is an absent presence in the film, in the brahminicalvarna order, Urmila and Bharatha
play, she is physically present: she converses severely criticize him. Bharatha is trenchantly
with Lakshmana in the Ashram and appears at critical of Rama for becoming a slave to
Rama’s court in the final scene. Kausalya and the priestly class and for compromising
Hanuman too have very important roles in the the pride and spiritual yearnings of other
play, while they do not figure at all in the film. varnas. Bharatha stands for dharma and
Urmila and Bharatha have a more prominent justice, which he argues is above varna order
presence in the play: Urmila engages in and priestly interests. Urmila passionately
heated arguments and conversations not only argues for Sita, interrogating Rama for the
with Lakshmana and Rama, but also with injustices done to her; according to her
Kausalya and Vasishta; Bharatha too argues Purusha and Prakriti are one and the same. If
with Rama, and also engages in a long and Bharatha stands for dharma, Urmila believes
heated argument with Rama and Vasishta in all-encompassing prakriti, which is not
defending Shambuka and his right to perform distinct from purusha. The play thus places
tapas. In the play, Shambuka’s tapas and final at the centre Rama and his two conflicting
execution are only reported, while those relationships: to Sita on the one hand, and the
scenes form very poignant moments in the allegiance to his kingdom on the other. All the
film. After Shambuka is executed, in the play, dramatic developments unfold around the
his wife comes to Ayodhya to vent her anger. various kinds of emotional, ethical, spiritual
Though she is not allowed to appear in Rama’s and political conflicts that hinge upon these
court, her voice can be heard from backstage relationships. While a lot of deeply troubling
cursing Rama and his dynasty for the gross questions are raised by Urmila, Bharatha and
injustice done to her husband. Kausalya on the unjust act of banishing Sita to

.................................................................................................................................. December 2020 45

the forest, Rama is also questioned in terms of
his slavish allegiance to priests at the cost of
Kshatriya pride and power, which also means
suppression of other varnas and their right to
spiritual pursuits.
As Paula Richman makes the following
observation about Aravindan’s retelling of
rama-katha in her preface to Usha Zacharias’s
study on Kanchanasita: “In his original 1960
play, Kanchana Sita, C.N. Sreekantan Nair
had rewritten the final section of Valmiki’s
Ramayana as a critique ofbrahminical privilege
and political repression. Using Nair’s play only
as a starting point,Aravindan transformed the
script according to his interpretation of Indian
philosophy and hisminimalist aesthetic. He
replaced Nair’s crisply articulated exchanges
of dialogue with acinematic meditation on
Rama’s separation from, and eventual union
with, Sita, thus carrying the concept of Sita as
Prakriti to its visual limit.”v
According to Usha Zacharias:
“Aravindan’s film distinctively differs from both
the uttara- kanda of Valimiki’s Ramayana and
Sreekantan Nair’s play. If the uttara-kanda’s
critique of sovereign power is buried in the
karmic web of Rama’s life, Sreekantan Nair’s
play carries a sharply materialistic edge in its
critique of Kshatriya-Brahminical power. In
contrast to both, Aravindan’s thematic content
46 Unkw_À 2020 .....................................................................................................................................
is much more directly focused on Rama’s inner
conflict between the desire for enlightenment
(moksha) and the desire for sovereign power
(artha). Aravindan highlights this conflict
through his choice of location and actors, as
well as his thematic elaboration of the killing
of Shambuka and, most of all, the presence of
Prakriti.”
Epic Characters, Ethical Presences
The characters we see in the film are
not the ‘mythological’ goes, divinities or
iconic figures that various art forms and
performance traditions have propagated and
popularized. For instance, the mythological
films, right from Phalke, have adopted
human figurations from Ravivarma paintings
which were popularized through lithograph
technology and calendar art. The human
figures, sartorial conventions, settings, skin
tone, gestures, and other iconic-symbolic
elements adopted by Ravivarma in his
paintings were the models for the filmmakers
too. Such figural and sartorial imagination
also drew heavily from the classic and folk
performance traditions and imaginations.
Aravindan completely eschews such narrative
modes and figurative models, in terms of
casting, costumes, settings, dialogues, and
acting. All the major characters – Rama,
Bharatha, Lakshmana, Shambukaetc – belong detail is introduced into the film depicting the
to the Ramachenchu tribe of Andhra, who preparations for the horse sacrifice, and the
believe that they belong to the lineage of close shots of hands at work – making fire,
Rama. They are not the conventional kind beating drums - fix the concentration on process
of actors one finds in Indian cinema. The rather than person. As the interest alternates
costumes are minimal and sparse: there are between the sage and sacrificers, we are made
no majestic thrones, sparkling crowns of gold aware of the relativity between knowledge
and diamonds, or glittering attires here. The and ritual, wisdom and action.”vi We can
characters wear minimal attire just like tribal extend this argument to the entire structure
lords, made mostly of braided vines, feathers, of the film, where the overall emphasis is
stone beads and shells. The ‘palace’ of Rama in the processes rather than in actions and
is a rock-cut cave, with dark interiors and events themselves, which are ‘effected’ and
gloomy corridors. There are no royal palaces, sustained through suggestions about it and
courts and avenues teeming with soldiers and durations that precede and succeed. It is
servants. The only ‘people’ we see in the film more of journeys to and from rather than
appear in two scenes that function more as a arrival at the destinations; it is more of
kind of interlude before the aswamedhayaga thinking and contemplating an action and
begins. Even the yaga happens in the ritual its aftermath than the act itself that occupy
setting devoid of anyone except Rama, the film narrative. For instance, the journey
Vasishta and the priests. In Valmiki’s ashram of Rama and Lakshmana in the beginning to
we never see a single built structure, and all Dandaka forest to punish Shambuka is a long
the events happen in the open forest settings. one covering various terrains and landscapes:
Obviously, such human figuration and the hills, river banks, forests etc. In contrast the
emphasis on settings foreground the human very purpose of this journey – their encounter
drama, rather than ‘realist’ ambience and with Shambuka, is brief and abrupt. Similarly,
make-believe. the sequences of Lava and Kusa frolicking in
This paring down, or shedding of all the the forest, of Lakshmana guarding the horse
ornamental and decorative elements from the in the forest, the long sequences depicting
usual mythological format, creates a skeletal the moment of Valmiki’s creative outpouring,
narrative atmosphere and mode where the the long walk of the Sage with the children
essential drama of the narrative is brought to to Ayodhya reciting the verses, the sequence
the foreground. Similarly, the dialogues too of aswamedha’s progress indicated through
are sparse, and if at all used, are rendered in running horses and fluttering flags – all these
a non-conversational manner; most of them scenes are in a way, ‘incidental’ or ‘leading
sound like monologues, tangential remarks or towards’ a dramatic moment. But the action
statements. Devoid of all such elements that itself is either abrupt or not shown. In certain
invite identification, the viewer’s attention other instances, it is the after-effects that
is directed at the deep mythical structures dominate: take for instance the close ups
underlying the narrative, and at the bare of the bloodied faces of Shambuka and the
‘facts’ of the events, leaving everything else to horse after their murder/sacrifice in the name
our imagination. By preventing identification of power and authority. What we see here
and adulation, the visual becomes a reflective is the aftermath of the violent act, without
surface for the viewer, who, in turn, has to fill showing the act itself. In the case of the yaga
the gaps and silences, connecting and relating too, compared to the scenes of the yaga itself,
onscreen images/actions/words with the where too the focus is on the golden image of
larger structure of the epic. Sita that remains a mute witness to it – it is the
elaborate preparations and post-yaga rituals
John Wood observes that “considerable
that dominate the entire sequence.
.................................................................................................................................. December 2020 47
 The spoken words too follow a similar
pattern. Even though the film has done away
with almost all the lengthy dialogues and
heated arguments in the play, all the uttered
words in the film are from the play. According
to Aravindan, “There are some specific reasons
for deciding to have sparse dialogues in
Kanchanasita. One, this episode taken from
Ramayan is familiar to all. Two, Ramayana
is not a supernatural reality for us, as it is
ingrained in us.” Spoken words are chosen
carefully and precisely from the play, and used
sparingly. Except on rare occasions in the film,
the uttered words are not even ‘dialogues’
in the conventional sense of the term; they
are more often monologues, commands,
instructions, recitals or statements. Rama’s
words even when he is apparently speaking
to Lakshmana, are more like monologues
like ‘A king should not dream..’ Many of his
other responses too are delayed responses
seemingly to oneself. Vasishta’s words are
commands and instructions; while Valmiki’s
are recitations and outpourings of poetic
creations. Even in scenes where the characters
are speaking face to face, like in the case of
Lakshmana and Urmila, and the couple with
Rama, or between Rama and Lakshmana,
the utterances of the characters progress in
parallel; more than being responses to each
other, they reveal, express and assert the
opinions and views, frustration and anger
of the characters who utter them. In a way,
they are speaking to the world and not to
the one in front of them. It could also have
something to do with the way in which
mythological imagination and storytelling
often function in society. There is nothing
new or unknown about the characters, and
the viewers are already conversant with each
one’s nature, ethical positions and emotional
dispositions. Nor is there any curiosity about
the denouement as it is known to everyone
through repeatedly re-tellings and umpteen
performances in various mediums and
formats. So, more than playing the character,
every actor in a mythological is performing
48 Unkw_À 2020 .....................................................................................................................................
a role; every performance is a reiteration of
the story with variations in emphasis and
viewpoints, every retelling and performance
like different singers singing the same raga
in different stylesvii. So, the narrative effect
does not lie within the acts or speech of the
individual characters but they have an overall
tableau-like effect where different elements,
like the characters, the setting (mise en
scene), utterances, and movements together
create or ‘re-enact’ a narrative moment
from the epic. In the process, the characters
begin to constitute a certain kind of ethical
presence or multiplicities rather than a linear,
narrative unity created through realistic
representations that spawn identification of
and adulation from the audience. Aravindan
breaks such ‘unities’ – of character, role
and emotion, emotion and performance,
inner feelings and external actions, speech
and its emotional content/intent, and most
importantly the conventional cinematic rules
about looks, their direction and emotional
intent. Aravindan’s retelling is rendered
not by unifying or tying together Rama or
rama-katha as a unity, but through exploring
the multiplicity of his various dilemmas
and conflicts - inner and outer, human and
spiritual, political and ethical, filial and kingly.
Surrounding it further are the multiplicity of
irreconcilable and diverse dharmic positions
and emotional dispositions of the other
characters – Lakshmana, Bharatha, Urmila,
Vasishta, Valmiki, Shambuka, his wife, Lava
and Kusa. Against the multiplicity that Rama
is, Aravindan places Sita, whose absence/
presence assume different dimensions in the
film. Though Sita never makes a physical
appearance, her presence is constantly
hinted at, and she is an absent presence for
all the characters in the form of very live and
haunting memories and intimations. In the
film, Sita becomes visible in two forms: on
the one side, as the omnipresent prakrti, and
on the other extreme, as her manifestation/
substitution in the form of a cold, metallic
statue during the yaga.
Looks & Gazes involves re-imagination and nuanced shifts
Another striking feature of the film is in emotional, spiritual and ethical emphasis.
the constant and repeated use of looks and This way, by emphatically downplaying and
gazes. The characters look for, look out, look minimizing the mythological paraphernalia
in, look sideways, look up, down, or away; and moulds and encrustations of conventional
they gaze at nature, at the sky, and at each stereotypical representations and narrations,
other. Sometimes these are looks of curiosity, the narrative mode of Kanchanasita brings
love, care and happiness, other times, they to the fore the essential ethical conflicts
are looks of guilt, remorse, pain and anger. into the foreground. When speech is totally
Some gazes go tangential and sometimes avoided wherever possible and if used, always
they cross each other; some looks follow stylized, and made mere markers or vehicles,
the directions of external movements, while the emphasis shifts from voice modulations
look for the sources of sound. On certain or emotional intonations to its essential and
occasions, especially during moments of bare content. Aravindan thus orchestrates
conflict, characters look at each other in the speech, action/acting, looks, gestures, settings
eyes. Some characters like Shambuka, never and movements to ‘disorient’ the viewer
look – deep in meditation, his look is turned from the conventional modes of storytelling
inwards. and mythological films, so as to ‘re-orient’
the viewer to the essential drama of ethical
This weaving of situations – dramatic,
conflict underlying them. Such conscious
emotional, spiritual and political – through
breakaway from ‘realism’ or naturalism is
looks and gazes create an interesting mode
evident not only in characterization, dialogue
of narration that vibes with the mythic where
delivery and mise en scene. It could also be
the viewers are invited to take the active
the reason why all the incidents in the film
role of reflecting and filling in. Mythic in
happen during daytime, and there are no
the sense that the characters and the stories
night scenes in the film.viii
of the epic forms (as Ramanujan says), ‘’a
second language of a whole culture area..”,
and hence does not require any mechanical
Ravi, Rama & Masculine Visions
clues or essentially verbal reiteration. The act There are several parallels one can
and spirit of re-telling is not a mere repetition see in the endings of Uttarayanam and
of past renderings but one that always Kanchanasita. In a way, both Ravi (the

.................................................................................................................................. December 2020 49

protagonist of Uttarayanam) and Rama leave
the world to enter another realm: Ravi, burns
the mask and seems to take refuge in the forest
and find humanity in the innocent yet world-
weary smile of the old woman. Rama, having
completed the yaga and uniting with his sons,
walks into the Sarayuriver. The presence of
fire is evident in both cases: Ravi and the old
woman are sitting around a fire, into which
he throws the mask; Rama is carrying the
sacrificial pot of fire in his hands while he
walks into the river, both representing at the
past life they are leaving behind. There is a
certain withdrawal/rejection of the worldly/
world and also an opening towards exuberance
and sense of freedom, that are both liberatory
and at the same time, ambiguous.
Obviously the masculine character of
such liberation and freedom-seeking is
evident, as Usha Zachariah’s observation
poignantly captures it: “The solitary colours
of this generation’s rebellion, its self-
destructive impulse, and its masculine profile
are etched into Aravindan’s film as well”.ix She
also connects it with the spirit of the times
and the masculine core of the ‘modernist’
turn in Malayalee culture: “Aravindan’s
unique contribution to world cinema and
to the Ramayana tradition emerged out of
the creative energy that colored the artistic
milieu of Kerala in the 1970s and 1980s.
His work related to, and was inspired by, a
generation of iconoclastic artists, filmmakers,
50 Unkw_À 2020 .....................................................................................................................................
writers, painters, and sculptors who were
deeply disillusioned with post-independence
“modernization” and leftist democratic
politics.” (ibid).
The centrality of male character and
mind, and the nature of the role and
portrayal of women in Uttarayanam and
Kanchanasita will substantiate the point.
Women in Uttarayanam are either self-
sacrificing, waiting mothers at home, or the
young admiring lovers of men in the village
or objects of desire and pleasure in the city.
In Kanchanasita, there are only two visible
female characters: Shambuka’s wife and
Urmila. Shambuka’s wife is portrayed as a
devoted companion to her husband, taking
part in his tapas, pleading to Rama to save his
life, and finally grieving when Rama finally
decides to dispense brahminical law in a
brutal manner. In the last scene, we find her
staring blankly ahead, Shambuka’s body on
her lap, with tears in her eyes. She is obviously
a victim, and at the same time, the stark
reminder of an unjust system. Urmila, on
the other hand, is someone who vehemently
argues both with her husband and the king.
She fearlessly airs her opinions, and also has
significant presence in the narrative space;
her looks and gazes shout, wail, accuse and
plead. Still, she is not free to break free from
the masculine royal order. If Shambuka’s
wife is a victim at the outliers, Urmila is very
much within it, but equally powerless and
inconsequential, though vocal. Though not knowledge is knowledge of the separation
in her corporeal form, Sita is present in two of purusa from prakrti, and liberation lies
other forms: as prakriti, which is inseparable in recognizing or realizing the dualtiy or
from purusha, and an essential medium for separatedness of prakriti and purusha, hence
purusha’s action or realization, and also as the the term ‘kaivalya’xii (‘separateness’, derived
golden statuette representing Rama’s wife at from ‘kevala’ meaning ‘alone, ‘isolated’)xiii
the yaga ritual. While one is dead matter, an There are three encounters in the film
icon made of metal, the other is abstract and where such interventions of ‘prakriti’ happen:
omnipresent. The human form, that lies in Rama vs Shambuka, Rama vs Bharatha, and
between, is absent. But all these presences, the Lakshmanavs Lava. In all cases, when arrows
absent human, the omnipresent prakriti and are drawn, the nature around suddenly
the metal statue – haunt Rama, invoking his becomes animated, wind rustles the leaves
incompleteness and inner division. In both and the aggressors are made aware of a larger
films, women constitute the matter for the presence which prompts them to withdraw
active principle of male to act upon, express, from the act of violence and aggression.
and realize his self. Extending the Samkhya perspective, the
realization is not about one-ness with
Prakriti and Purusha nature, but the realization about the intimate
Usha Zacharias observes that, “Aravindan’s and inevitable presence of the other. This
interpretation of the play precedes his film revelation about what is ‘not-me’, is also a
proper. This opening scroll reads, “This film re-cognition that also makes oneself unique
is an interpretation of the uttara-kandaof the (isolated) and also responsible for oneself
Ramayana. Our mythologies and the epics are and the other in a profound sense. It is such
constantly re-created in retellings. The epic is enigmatic but very palpable intimations of
the basis for this visual interpretation as well. prakriti that leads to realization and in turn,
This film deviates from established norms in compassion. Wherever it is absent, where there
how it visualizes the protagonists and portrays is no recognition of prakriti as/and the other,
the course of events in the epic.” The scroll there is neither self-awareness or compassion;
explains that the film will try to reflect what there, violence prevails or non-reconciliation
it calls the epic’s adi-sankalpam, “original persists, as in the case of Rama’s second
conception,” of the theme and protagonists. encounter with Shambukawhere he kills
It states that “the inner essence of this film” him, and that between Valmiki and Vasishta,
is that woman is Prakriti. Ultimately Purusha, which is a meeting of two irreconcilable
here conceived of as the (masculine) self, positions about the world, life and action. In
dissolves into Prakriti.” both cases, we do not see any intervention
Many commentators of the film have by prakriti. In the final scene, though many
explained the final scene as Rama (purusha) critics have described it as Rama merging
merging with or becoming one with prakriti or becoming one with nature, what is to be
(Sita)x. In a similar vein, the scenes where the noted is that he still carries the sacrificial fire
sudden coming-to-life of nature during the pot with him. So, he does not relinquish the
encounters between characters is read as an past, but realizes himself as separate, or his
intervention of prakriti to neutralize human separatedness (kevalatva). And his ‘merger’
aggression or violence. Looked at from the or disappearance into Sarayu is along with
perspective of Samkhya philosophy,xi from it, in other words, as separate but with the
which the notion of purusha and prakriti awareness/realization about the separation
derives, it is not their one-ness or unity that between purusha and prakriti, or himself
is emphasized as liberation, where right and Sita. In all cases, it is the recognition/

.................................................................................................................................. December 2020 51

realization of the alterity of the other rather
than dissolving in it.
This emphasis on multiplicity/alterity
rather than unity/merger can be further
extended to the delineation of the characters
too. In the classic realist tradition, what is
required of the actors is to achieve unity of
gesture, action, expression, emotion, thought
and speech for him/her to be the character.
Here, such unities are broken, gestures and
actions are stylized, expressions and emotions
minimal, and speech too are utterances
or monologues rather than ‘dialogues’.
Such rupture open up the possibilities of
experiencing the dramatic moment and
understanding the characters as multiplicities
rather than unities that converge on a certain
meaning or significance.
One could also draw similar parallels in
the structure of the musical compositions
employed in the film, which uses various
kinds of drums, apart from bugles, flute,
sitar and sarod. They are used to accompany
different moods, movements, situations and
characters. The use of drums and bugles in
various forms accompany the scenes that
are associated with the kingdom, rule, reign,
conquest etc. The use of drums and bugles
that goes with the progress of sacrificial horse
accompanied by the shots of horses trotting
over different terrains and of fluttering flags is
an example. In the scenes, where the sudden
coming-to-life of nature disrupts human
aggression rag jhinjoti on sarod, sitar and
flute, and in the long sequence where Valmiki
52 Unkw_À 2020 .....................................................................................................................................
contemplates the creation of uttarakanda,
a musical rendition in flute in kamboji raga
is used. In the final scene, Rama walks into
Sarayu to the accompaniment of thumburu
that resounds in the background, which in
a way, indicates Rama’s return to oneself,
reconciled to the basic tone of the world,
musically rendered as a return to basic shruti.
In the words of Aravindan, “..(Rama’s)
death in Sarayu River is not like any other
kind of death. It was a Mahaprasthanam
- an event of supreme self-sacrifice and
purification, leaving everything behind.
Everyone dear to him had gone. He had
parted from Lakshman... he was troubled by
many guilt feelings - the murder of Sambuka,
the unfairness meted out to Seetha... Towards
the end of the film, this mood prevails -
Rama walks into the Sarayu river with the
sacrificial fire, bearing everything including
his loneliness, calling out for Seetha ... and
disappears into the depths of the waters.. (it)
is not in Ramayana - it is an interpretation.”xiv
Narration meets Narrative
It is significant to note that if the first
journey is from Ayodhya/kingdom by Rama
and Lakshmana to the forest, the last one is
from the forest/ashram to the kingdom/yaga
site by Valmiki with Lava and Kusa. They walk
their way from the forest ashram to Ayodhya,
and along with their journey, the story of
Rama they on their way also progresses. The
purpose of their journey is to meet Rama, the
hero of the story, which is itself in the process Notes
of being written and recited. So what happens
i. Paula Richman, 1991, Many Ramayanas – The
when they arrive at the yaga site is the
Diversity of a Narrative Tradition in South
meeting between the narration and narrative. Asia,
All of them there are characters in the story.
As they reach their destination, the story and ii. It is also interesting to note that, from the
its narration by the bard and his disciples beginning, more films have been made
meet with the protagonist of the narrative. from the stories drawn from the other epic,
Mahabharata. It could be because of the
And Rama’s final and only act of defiance of
sheer diversity and emotional complexity of
Vasishta (who attempts to prevent Valmiki characters in Mahabharatha, and the kind of
from entering the yaga site), and the eventual ethical and familial conflicts that it is replete
recognition and reunion with his children, with. Maybe the figure of Rama, upright,
are the outcomes of the protagonist meeting unwavering and god-like, his love and marriage
his own story, which liberates him from the too ‘pure’ and his actions too ‘linear’ to lend
narrative itself. It completes a circle, and itself to the melodramatic demands of Indian
Rama is freed from the bondages of kingly cinema. But since the telecast of Ramayana,
roles and dynastic bonds. Again it is the Rama has had a totally different life, a new
avatar of sorts, not only in Indian cinema and
acceptance of difference and alterity rather
television but also in politics. The new Ram is
than unity and sameness – the realization armed, his macho body muscular and ready for
about the difference between one’s own life war.
narrative and the narration of one’s life that
is liberating. iii. The famous utterance of Valmiki at the sight
of the hunter arrowing down the lover bird
goes thus: mānisādapratisthāmtvamagamah
The Elemental Questions śāśvatīhsamāh/yatkrauñcamithunādekam
Visually, thematically and even as avadhīhkāmamohitam (the rough translation
characters, it is the five elements – earth, of which is, “Oh hunter, may you repent for life
sky, water, air and fire - that constitute an and suffer, find no rest or fame, for you have
overwhelming presence in and poetics of killed one of the unsuspecting, devoted and
loving krauñcha couple.”
the film, even often eclipsing that of human
figures. So, the action and acting have only iv. Usha Zacharias observes that “The shooting
a secondary role, situations, moods and took place at the time when Congress Party
contexts substitute for explicit dialogues Prime Minister Indira Gandhi haddeclared
and action. Except for passing glimmers a national emergency to suppress the mass
of emotion on the faces of characters, democratic uprising against her government.
Police were combing the entire area around
they represent certain ethical positions,
Rajamundhry in their hunt for the members of
human situations or conflicts. More than the
affirmations and resolutions the film is more
about questions and doubts. The question v. Maoist People’s War Group. As a result…
that Urmila asks Lakshmana, “Is purusha members of the production teamwere picked
distinct from prakriti?” reverberates through up and questioned by the police several times
because they looked different from theaverage
the film. It is only Valmiki who understands
person. At a time when the politics of absolute
this rupture and expresses it through his power was playing out in history,Aravindan’s
verses. In retelling one of the most popular film relocated the question of sovereign
myths in Indian tradition and the ethical authority to a narrative in which it played
and emotional conflicts that animate it, amajor role as part of the conflict between
Kanchanasita extends the poetics and the desire for power and the desire for
dramatics of cinematic language. enlightenment.” (ibid)

.................................................................................................................................. December 2020 53

vi. Paula Richman. 2008, Ramayana Stories in
Modern South India: An Anthology. Bloom-
ington: Indiana University Press. pp. 99–107.
vii. John W Wood, The Essential Mystery – Major
Filmmakers of Indian Art Cinema, Orient
Longman, 2000
viii. An observation that Mani Kaul makes in his
interview with UdayanVajpaeyi in the book
Uncloven Space, Quiver, 2013.
ix. John Wood explains it differently: ‘It is
significant for Aravindan not to define space
and time in the film, for the infinity and
eternity of nature are essential to his underlying
philosophy. …It is as though the pace of the
film, determined in this very gentle and gradual
revelation, is in some way commensurate to
the eternity of the epic’s appeal. The impressive
forms of Rama and Lakshman are blended, not
intruded, into the film, and as the camera pulls
back on one occasion into a very long and wide
shot, we see the pair of them almost minute
against the vastness of the rocky cliffs, the
water and the sky, reminding us that even kings
and demigods have a relative place in the total
perspective of creation. It is a vibrant creation,
as we can see by the movement of wind and
water, by the colours of lush growth, by a
magnificent shot of the sun coming up over the
hills, and by the general absence of night from
the film’ (p.241)
Paula Richman, 2008. Ramayana Stories
in Modern South India: An Anthology.
Bloomington: Indiana University Press. pp.
99–107.
x. Kavalam Narayana Panicker for instance, in a
published discussion on the film, comments
upon Aravindan’s interpretation of Sita thus:
‘The plot (of the film) shows prakriti and
purusha being separated, and as a result of
influence of prakrithi upon him, Rama, in
the end, sacrifices his hunger for power and
enters mahaprasthana to merge with nature’
(Malayala Cinema, 1982,Ed by Vijayakrishnan,
p. 109
xi. Samkhya is dualistic realism. It is dualistic
because it advocates two ultimate realities,
Prak¤ti matter and Purusa self (spirit). Samkhya
is realism as it considers that both matter and
spirit are equally real. Samkhya is pluralistic
54 Unkw_À 2020 .....................................................................................................................................
also because of its teaching that Purusa is
not one but many. Samkhya doctrine can be
found in the Upanisads, Mahabharatha, Gita,
Smrtis and Puranas. According to Samkhya
system, the world is not unreal. Nothing new
comes in to existence in this world. One thing
gives rise to another thing. Samkhya system
describes this world has evolved out of two
categories Purusa, the knowing subject and
Prakrti, the known object. Also the existing
from the beginning matter is the source of the
world. It is a potentiality and with the help of
three constituents Sattva, Rajas and Tamas,
the matter unfolds in the presence of a person
and the world comes in to the existence. The
person is a testimony. However he is indifferent
or unconcerned. It is the Prakrti that creates.
xii. Kaivalya, (Sanskrit: “separateness”) in the
Samkhya school of Hinduism, a state of
liberation (moksha: literally, “release”) that the
consciousness of an individual (purusha: “self ”
or “soul”) achieves by realizing that it is separate
from matter (prakriti). The Samkhyaschool
posits a dualistic cosmology. Both prakriti and
purusha are eternal and of distinct natures.
While prakriti is always changing, purusha
is constant. They may, however, commingle,
causing the purusha to become captivated by
the material world. When this happens, the
purusha ignores its true nature, falls under
the delusion that it is part and parcel of the
material world, becomes bound to this world
because of karma (the effects of both good
and bad actions), and undergoes a series of
reincarnations. Release from this bondage is
effected by the purusha’s realization of its total
separateness from prakriti; hence the term
kaivalya. (https://www.britannica.com/topic/
kaivalya-Hinduism)
xiii. It will be interesting to read Badiou in this
context: “..what kind of world does one see
when one experiences it from the point of view
of two and not one? What is the world like
when it is experienced, developed and lived
from the point of view of difference and not
identity?” (Alain Badiou, In Praise of Love,
2012, p.20)
xiv. Interview with Aravindanby Chandradasan.
“Velipadukalude Kavi”. Film Magazine, Aug.
1989).