Some of these
weaknesses may be traced to Shyamaprasad's background
as was learnt while talking to him recently in Chennai.
Trained in theatre at Trichur's School of Drama and later
at the Film and Television Institute in Pune, this young
director worked in Doordarshan before traveling to Britain,
where he got a master's degree in media studies. Even
there, it was drama that engaged most of his attention.
However, when he returned to India, he made several television
shorts and advertisement campaigns. One mentionable highlight
is "Nilavu Ariyunnu", a 45 minute feature.
But what was it that attracted him to a fairly heavy subject
like "Agnisakshi"? "I read the novel about
15 years ago, and for almost a decade, I had been toying
with the idea of filming it. The hopelessness of destiny
or fate in one's life was what drew me to this literary
masterpiece. Although I am not a Namboodiri, I can very
well conceptualize a situation where two people who have
different views of dharma have to live together. This
dilemma is the soul of the novel. The social issues in
it form a mere icing to this man woman conflict. I personally
feel that Antharjanam's book is no social commentary of
the period. It transcends that. The tale could have taken
place at anytime, anywhere…
But to a viewer who has not read the printed version,
Shyamaprasad's point of concern hardly seems to have got
itself translated on to the screen. The maker disagrees
with this. "I have tried to keep the period out of
focus. I have attempted to put Unni and Devaki on the
centre of the stage. Of course, I have verbalized a lot
of it."
But it is the relationship between Thankam and Devaki
that catches one's attention. Shyamaprasad reflects hard,
and admits, "May be so. Thankam is a very important
character, true. She is the one who narrates the story.
She is also a participant. It is from her perspective,
through, through her eyes, that one has to look at the
delicate nuances between the husband and the wife."
But, somewhere, the balance appears to have tilted rather
uncomfortably towards the "sutradar."
The victim of this has been Shobhana. Her role leaves
a lot to be desired. "I agree I have not tried documenting
Devaki's (Shobhana) life. The dramatic structure does
not follow her. It traces Thankam's observations of Devaki's
existence, how Unni's life completes a full circle. It
is wasted in meaningless rituals. Devaki feels the same
about herself. The picture, in the end, says how two people
lived without understanding each other."
Moving away from 'Agnisakshi' Shyamaprasad feels in the
course of random reflections that "modern cinema
is obsessed by the graphic form. I do not think that it
needs to be a particularly graphic medium. Words can be
used powerfully and penetratingly to convey depth and
complexity inhuman emotions and relationships. Talking
is part of the human action, and it is necessary in this
medium."
But what about songs? "I agree they are an artificial
element. As far as my film goes. I have admittedly made
certain compromises. I wish I had avoided the songs. But
I am certain they have not marred the soul of "Agnisakshi…"
the director avers.
Shyamaprasad's effort could have made a greater impact
without these give-and-takes, but it is one thing making
a movie and quite another trying to sell it. The dilemma
can be unnerving.
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