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Tuesday Talkies: Vanaprastham - A masterclass in direction and acting

The film features Mohanlal at his very best as he effortlessly slips into the character of Kunjikuttan, a Kathakali artist.

Tuesday Talkies: Vanaprastham - A masterclass in direction and acting

Last Updated: 11.04 AM, Sep 09, 2022

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In our new weekly series, Tuesday Talkies, we recommend critically acclaimed and award-winning Indian films.

It won’t be an overstatement to say that Vanaprastham (The Last Dance) is one of the finest movies Malayalam cinema has ever produced. The film directed by Shaji N Karun features Mohanlal at his very best as he effortlessly slips into the character of Kunjikuttan, a Kathakali artist. The film had its premiere at the Cannes Film Festival in 1991 and went on to bag several national and international awards.

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Set in 1950s Travancore, the story follows Kunjikuttan, born to an upper-caste man and a lower-caste woman. Kunjikuttan faces rejection from his father and is raised in poverty. He pursues Kathakali from a young age, which was traditionally associated with the upper castes and royalty. Adulthood does not offer him much solace either as he fails to earn the affection of his wife Savithri, who laments her misfortune of being married to an alcoholic dancer. His sole happiness in life is his daughter, Sharadha.

Kunjikuttan’s life takes a turn when he travels to Thiruvananthapuram to perform before the King. There, he gains the acquaintance of Subhadra, the daughter-in-law of the Diwan, who is mesmerised by his performance as Putana from the Mahabharata. She requests him to essay the role of Arjun in an adaptation of Subhadraharanam, which is based on an episode from the Hindu epic. Their relationship results in the birth of a son. However, Subhadra keeps the child away from his father, and a distraught Kunjikuttan vows to play only aggressive and villainous characters on stage.

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It is often said that a good director can bring out the best in an actor, and in Vanaprastham, the combined forces of Karun and Mohanlal draw us towards the characters emotionally. Mohanlal gives his heart and soul to the character, and as the audience, we are left in awe. So much so that it’s hard to believe that he is not trained in Kathakali. In a scene, where Subhadra lets Kunjikuttan hold their child for the first time, she says, “I will consider him to be the child born to Arjun and me. He is not Kunjikuttan’s son.” In that moment, Kunjikuttan stays calm. But his pain and despair are captured nonetheless. The film earned Mohanlal his second National Award for best actor. He also co-produced the film.

Suhasini Maniratnam exudes grace and dignity as Subhadra, who is obsessed with the mythological character Arjun. Her emotions are subtle and realistic. And though we are more likely to be drawn toward Kunjikuttan, we understand Subhadra’s helplessness and why she decides to stay away from Kunjikuttan.

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The movie also brings to light the plight of Kathakali artists in Kerala. Although they are revered for their talent, they find it difficult to make ends meet. On several occasions, Kunjikuttan can be seen pleading to the King, seeking financial assistance to better the living conditions of his fellow performers.

Apart from Mohanlal and Suhasini, the film features renowned percussionist Mattanur Sankarankutty, Kathakali exponent Kalamandalam Gopi, Kalamandalam Venmani Haridas, Bindu Panicker, and Kukku Parameswaran.

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Karun and Raghunath Paleri’s strong writing and character development form the fulcrum of the film. There is hardly a dull moment across the narrative, and we are emotionally invested in the story. The cinematography by Renato Berta and Santosh Sivan elevates the visual aesthetics of the film. Vanaprastham is also the first Indian film to be shot in the Panavision format. Tabla maestro Zakir Hussain’s music is soothing and it is hard to not be moved by the track titled, Kunjikuttan. Film editor Akkineni Sreekar Prasad bagged his fifth National Award for his work in the movie.

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Vanaprastham was Karun’s third directorial venture after Piravi (1989) and Swaham (1994). After the screening of Vanaprastham at Cannes, the French government conferred him with the Chevalier title. And even after 23 years, Vanaprastham remains one of his best works.

You can watch Vanaprastham here.