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Sunday, Dec 19, 2004

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The resonance of Kaya Taran

By Mini Anthikad-Chhibber

Sashi Kumar. — Photo: V. Ganesan

PANAJI: "One need not constantly remember unpleasant events. But when they recur, then forgetfulness is a crime,'' says Sashi Kumar. With his debut feature Kaya Taran, he is seeking to ensure that we do not forget one of the most horrific massacres of India's history: the anti-Sikh riots following the assassination of Indira Gandhi. The film, adapted from a short story by N.S. Madhavan, "When Big Trees Fall," uses the 2002 Godhra riots as an entry point to tell the story of Preet, a young journalist coming to terms with his identity.

While working on a story on conversions, Preet visits a convent and meets Sister Agatha. His visit triggers memories of a Sikh boy, Jaggi, and his mother who had come seeking shelter in the convent while being pursued by a mob. The nuns help Jaggi and his mother escape the mob. Jaggi escapes but loses his identity as his hair is shorn.

The question of identity

The film works as a Bildungsroman for Preet, who grows up from being an unsure individual to one comfortable with his identity. At the start of the film there is an unease with self, which finds a physical manifestation in the ponytail. By the end of the film Preet walks into the Press Club wearing a turban, the epitome of self-confidence and cultural identity.

"Hair is integral to Sikh culture," Sashi Kumar says, talking about the crucial dream sequence. "The sequence works on many levels. On one layer it works as an adoration of hair from the boy's perspective. His hair has been cut and the sequence operates as a surreal compensation. The gossamer look in the sequence echoes its transitional metaphorical quality."

The sequence is also emblematic of the title Kaya Taran, which means chrysalis, where one sheds the old life and identity and emerges into a new life. The sequence operates on the concept of Carmelite nuns being the brides of Christ. "For the Carmelites Jesus is a platonic lover. So the sequence has an element of the biblically sensual. I wanted to work against the stereotypical image of nuns being holier than thou. So this sensually profane sequence operates as a counterbalance to that."

Two litmus tests

About trouble from the Catholic Church, Sashi Kumar comments: "Actually the movie was screened for 300 nuns in Thrissur and there were no objections. The film was also shown at the Spinning Wheel Festival in Toronto, which screens films exclusively on Sikhs, and the response was positive. So the film successfully passed two litmus tests at both the ends of the spectrum."

Sashi Kumar, who looked at television "as a stepping stone into films," took a long time to disengage to make this film.

"The film is a comment on media and mediated reality. The media is present as an undercurrent through the film. You have the press conferences, the flash of cameras, the constant feeling of reportage. I shot in the Press Club and The Hindustan Times office. The atmospherics are as it used to be. There is an understated media reality."

On the choice of Hindi as the language of the film, Sashi Kumar explains: "I did not think of the film in English as I feel it sounds artificial and tends to stick out."

Seema Biswas, who plays Sister Agatha, sports a touch of make-up, which he is uncomfortable with. "While some of the contemporary nuns are quite liberal, I accept that Seema's look was not as satisfactory as I would have liked it to be."

Didactic elements

Sashi Kumar sees many didactic elements in the film. "In the beginning it was actually Rahul Bedi, a reporter at Trilokpuri, recounting what he saw there. Using two perspectives to show the mother seeking refuge was another element."

Casting proved quite a task, as apart from Seema Biswas all the artistes are newcomers. "I worked out back-stories for each of the characters with Madhavan and we had a preparatory workshop as well." Sashi Kumar says: "Neelambari Bhattacharya, who plays the seven-year-old Jaggi, was a revelation. I had looked at a lot of children for Jaggi. I needed a child who was the right mix of vulnerability and fun without being precocious, and Neelambari fit the bill."

One of the strong points of Kaya Taran is the soundtrack. The ambient sound of whispering, the cellphones ringing, and the powerful use of the sound of silence all contribute handsomely to telling a harrowing tale exceedingly well.

Sashi Kumar's plans include a "Malayalam movie spanning two generations and a Tamil/Malayalam movie on migrant workers. But first I have to settle the affairs of this film, which was largely self-produced."

The affairs of Kaya Taran seem to be heading for a satisfactory settlement, Sringar Films having bought it. "The film is to be released in the second week of January and I am also planning to take it to the festival circuit," Sashi Kumar said.

While most debut features are coming-of-age movies, Sashi Kumar has managed to make a coming-of-age movie with a unique resonance of the life and times of a troubled nation.

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