Gowri’s eyes seem to be searching for something or someone as she scans the horizon from a window of her room in an old home. However, when she does find what she was looking for, things do not work out in the way she had expected.
Are senior citizens in Kerala losing the right to decide for themselves how to spend the sunset years of their lives? Do they have a say in deciding where to stay and how to live? Are our senior citizens getting marginalised in our effort to race ahead in the fast lanes of life? Does the present system ensure that there are enough safeguards in place to keep the elderly safe and comfortable without alienating them from society?
These are some of the questions that Jananam 1947, Pranayam Thudarunnu, directed by debutant Abhijit Ashokan, explores sensitively. Abhijit is the writer of Kolumittayi, which won the 2017 Kerala State Film Award for the best children’s film.
Starring Leela Samson and Kozhikode Jayaraj in the lead roles as Gowri and Sivan, the film delves into the isolation that many seniors experience when they lose their spouses. Deepak Parambol, Anumol, Irshad Ali and Noby are also play important roles.
Jananam 1947, Pranayam Thudarunnu (Malayalam)
Gowri, a reluctant resident of a no-frills old home, longs to spend her last days under her own roof, as the mistress of her own home. However, her pleas to her only son to take her back to her home fall on deaf ears.
That is when a fellow resident suggests she marry Sivan, an employee at the home, a widower. Although Sivan obviously belongs to a different socio-economic background, the idea takes shape in Gowri’s mind as a solution to her yearning for a place of her own. Sivan goes along with the idea.
Gowri, a former teacher who comes from a privileged background, finally decides to go ahead with her friend’s idea and that is when all hell breaks loose. Both Gowri’s and Sivan’s children oppose the marriage for almost the same reasons — fear of financial loss and societal judgement. The reactions of those around the two septuagenarians throw light on the prevailing mores in society.
Santhosh Anima’s frames capture the contrast in Gowri’s life as she moves out of the rules and regulations of the home. From wistfully looking out of the window of her shared bedroom, she now steps into the greenery of paddy fields and nature.
The director is in no hurry to force the pace of the film and lets their relationship blossom gently. As they negotiate the contours of a new relationship, it is Sivan, a farmer, who feels the pressure to live up to the expectations of his educated wife. Jayaraj lives his role as the rustic farmer, a little in awe of his companion.
Leela cuts a dainty figure in her mundu-neriyathu as she takes lunch to the paddy fields where Sivan is hard at work. Nevertheless, it does seem a little far fetched to see Gowri, who is shown as hailing from an upper-middle class family, cooking and playing homemaker in Sivan’s ramshackle house and basic kitchen.
However, that is precisely the point the movie strives to make — that the yearning for companionship erases socio-economic barriers. The film focusses on how the companionship between Gowri and Sivan bridge their differences. A twist in the story forces one of them to tackle reality.
Jananam 1947, Pranayam Thudarunnu, is the work of a director who is confident about his narrative and has a clear vision. Jayaraj shines in his role while Leela seems a bit out of place in certain scenes. Govind Vasantha has composed the music of the movie.
The film is currently running in theatres.
