Frames And Angles

Half way through “Ore Kadal” (The sea within), anyone who is unaware that it is an adaptation of novel might think of such a possibility. With an intensity that can be achieved only by a well written novel, “Ore Kadal” is a soul stirring movie experience that you feel lost between the pages helplessly flipping in a strong gush of air. The movie begins with three successive conversations over phone happening in an unnamed city – Dr.Nathan, a rich renowned social scientist, hastily picks up the phone presumably after an intercourse with Bela, a high class call girl, and refuses to visit his bed ridden aunt. Deepti, a lower middle class house wife, tries to reach her husband Jayan in a distant city to inform that their kid’s health has worsened and she is running out of money. Jayan is talking to his friend as a last attempt to get back his job that he lost 18 months before.

Deepti was living on the slopes of a hill, when she was eight. Her father’s sea side tiny house had always been the subject of her conversation with him. She wanted to visit the sea but her father never serviced her request. The sea was unfolding its distant blue horizons in her dreams. It became a symbol of what ever she was deprived in her four-walled life. She felt suffocated; she wanted to go away off somewhere. She had the calmness of a sea that hid turbulent undercurrents of water. But like any lower middle class girl, she accepted her life as it was offered.

Years later, the deep sea inside her roars again; overflowing as the forbidden romance for Dr.Nathan, a womanizer, an alcoholic who is afraid and devoid of any commitments and bonds. His life is full of women – names that he couldn’t remember – relationships that he couldn’t continue or even begin – only the ecstasy of their bodies he could recount. On a windy day, he takes her to bed to celebrate the death of his aunt – the only bond in this world. There is nothing to talk about exploitation here. Deepti in a state of confusion lives through the moments that she would regret all through her life. She breaks the rules once or twice and makes love with him. Slowly, she learns that he cannot offer her the love that would justify the sin she committed. Her small guilty heart breaks when Nathan is even not to able to acknowledge his kid that she carries. She becomes schizophrenic.

Months later, the life of three is caught in a web of love, lust, deceit and guilt. What could possibly end this entire trauma?

“Ore Kadal” is mystical, meditative and endearing. It opens the windows of a haunted house and beckons you inside. It is never judgmental or preachy – it is a warm tale of compassion. You might find it wrong, faulty –but you cannot ignore it.

Shyama Prasad has adapted Sunil Gangopadhyay’s novel Hirak Deepthi, that Satyajit Ray wanted to visualize, to celluloid. You certainly don’t need to know anything about the novel. This poignant movie is a haunting fare on its own. Shyama Prasad’s direction has the touch of a class, the maturity and clarity of an ace director. Austerity is the word – be the direction or art direction. The open ended climax is the best option, because it is a story of no possible end.

The screenplay moves like a kid taking the stairs, skipping a step or two here and there. The complete visual black-out that you often witness elevates the movie watching experience to the task of reading a novel, chapter wise. It is one of the best screenplays I have come across in recent times.

Meera Jasmine, as Deepti, takes you through the dark caves of forbidden love and guilt aided by a sparkling performance. The actor cleverly settles for small subtle expressions. She ably matches the IQ level of a lower middle class house wife. The disturbed mind is evident even in her body language. For instance – in her first schizophrenic outburst she bites Nathan in his chest – very much as Lord Krishna being bitten by his devoted Lady Love Meera – the actor excels! The way she evolves into the poor helpless Deepti is a towering achievement. (Her Deepti lost to Priya Mani’s Muththazhagu in the last round of National Awards)

Mamooty as Nathan is unbelievably harsh and rude, yet lovable. The kind of clarity that he adds to the unusual role speaks volume of his histrionic skills. Ramya Krishna surprises in her brief role – Her Bela is hard hitting, practical and intelligent.

Ouseppachan’s musical contribution is haunting. The five songs blend brilliantly with the narrative, though they mildly resemble with each other. Alagappan’s cinematography is first class.

“Ore Kadal” is like a whirl of a turbulent current of water. Before you realize, you are taken into it. It is so familiar, intimate and intense that, from the word go, you start grieving as though you are continuing from where you left it last time. It is a movie you watch helplessly, caught between the two extremes of virtues and sins; questioning yourself about right and wrong; thinking beyond right and wrong.

Wow!: The mystic charm that gleam in everything – performances, direction, music, cinematography & art direction.

Awwww! : Open ended climax might be unsatisfying. Might be difficult to connect to the basic plot of adultery.

Verdict: Recommended for open minded, serious movie buffs.