Mallela Teeramlo Sirimalle Puvvu - Thesis, Anti-thesis, and Synthesis
Ramaraju had an idea which most would have deemed it
fit to convert into a short story that is the stuff of writers with rare
sensibilities such as Tanikella Bharani, but, to our pleasure, he
allows it to blossom into a full-fledged feature film. At the heart of
Mallela Theeram is an ideology, many of us might be tempted to say. The
ideology, actually, is rooted in his worldview that nothing is greater
than Heart. Be it the creative love of a poet or the affection of a boy
and a girl for each other, they subsist in a state and the state is
called Love. "It doesn't require the presence of a human," so goes one
of the memorable lines. As against the Mammon-worshipping greed of the
modern man, a person who is in peace with existence blithely submits
himself to 'manasu', never liking it to be restricted by the insane
rules of the world. The society has the evil agenda of imposing crude
rules, while the vision of Advaita liberates man from its vice-like
grip. It is not 'ideology' but religiousness itself. (It is another
matter that the film presents the idosyncratic view that losing oneself
in another is Oneness. The fact is that losing oneself in anything
other than God is Maya).
Hanu Raghavapudi said that his film, Andala Rakshasi,
should be watched with a silence inside. Here is another film which
should be watched with a similar state of mind, or, may be, even
thoughtlessness.
It is remarkable that here is a film which
fundamentally posits itself against restrictions imposed on women and
the tyranny of money, at once. However, the panegyric must be limited
to the thought at the heart of the story, as the filming is far from
being remarkably highbrow. For a film that campaings for the freedom of
women to choose her mate, among others, it is deeply ironical for the
girl to say that she would have enduring her hubby's beatings if he
empathised with her in at least some respects. There is also a
sociological misunderstanding that creeps into the film, spoken through
the hubby's character. It is not money but ever-growing needs from time
immemorial that has spawned institutions and social
inter-relationships.
Sri Divya as Lakshmi is a typical girl with
small-time wishes that don't go beyond being a beloved wife of someone.
What makes her atypical is her ideal longing for a life free of greed,
filled with poetic avagations (crudely put, the desire is given the
manifestation of a few 'Paduta Teeyaga'-like interludes and 'song
sittings' involving Divya and her lyricist boy friend). Her husband is
an anti-thesis, he is a greedy capitalist clone who admittedly values
only two: money and himself. He presents a realistic caricature of most
characters of the modern world.
Beckoning Sri Divya into a prolific sunshine is a
lyricist who apparently comes across as having achieved Advaita-hood.
With a valued degree and excellent academic track record, he could have
chosen to be on the top of the world, but his convictions are rare to
come by. Deep down, he is a humanist who loves to use his Saraswathi
(talent) and combine Her with Lakshmi so as to metamorphose into an
Annapurna for the needy. As against a husband who wants his hapless
wife to see the world as he sees it, the lyricist loves Freedom, in all
its glorious sense. Her "parichayam" with him graduates into a "katha"
and the world of Sri Divya is changed forever.
Whenever she meets him, it is like a tryst with a
flower for her. 'Diyas' represent her for him. The relationship,
despite all the love talk, remains platonic. Meanwhile, the inferior
depiction of the lyricist on the celulloid confounds us.
Keeping the ideas on paper aside, how does the film
fare as far as the presentation is concerned. Frankly, it leaves much
to be desired.
Ramaraju is a beautiful thinker but not a beautiful
filmmaker. Clearly, he has not shown enough imagination when it comes
to the lyricist's character. Watching the love story on screen, one
feels Ramaraju thought the audience would be overwhelmingly hooked to
the heroine so much so the viewer would care little about anything
else. It is a film, not a novel where most undiscerning readers would
forget that they read the entire book without realizing that the story
was told through the eyes of one character at the cost of scratching the
surface with regards to a few other important aspects. It is not a sin
in itself though. But when it comes to film, there is not much
difference between a discerning and an undiscerning audience. The
former can see through the fault line, the latter doesn't, but
sub-consciously he knows the film lacked something.
Besides his unexceptionably great views on freedom of
conscience, one doesn't have a peek into the lyricist's heart. When a
lyricist falls in love, he inspires others to fall in love. Where is
that magical feel? All magic is, ironically and surprisingly, spawned
by Sri Divya, who doesn't claim to have realized neither Advaita nor a
rare lyrical sense. The director could have done two things: have a
song written by the lyricist (in the film) giving an expression to his
girl's ascension into a world of non-subservience; and have the girl
imagine her boy's state of mind after meeting her.
A sine qua non for a film of this kind is a haunting
music. Pavan Kumar's music is lilting, a bit inspired but it is not in
keeping with the times. The less said about the BG score, the better.
It is not like everything about the way the girl is
presented is alright. Ramaraju has not learnt from his predecessors
like Bapu or K Vishwanath. If not, the journey of Sri Divya's character
would not have failed to struck a brilliant chord. He is stuck with
the realm of thoughts, he has to enter the domain of cinematic
imagination.
The dialogue stand out for the sheer brilliance.
There are many memorable lines for sure, one has to watch the movie to
savour them in their richness. The improptu conversations and using
'mallelu' as a leit motif are absolutely enjoyable.
Besides the lilting music, crisp camera angles lend it creditibility.
Sri Divya's performance is praise-worthy. She is
seen in every single frame. Ramaraju wanted to present her to be
exduing 'Telugu tanam' and for this reason, she will be talked about.
The lyricist, played by Dr. Kranthi Chand, needs to go back to the
training school and learn the basics of acting.