Isolation of Worlds: A Review of Girish Kasaravalli’s Rain Drama – Dweepa
Isolation of Worlds:
A Review of Girish Kasaravalli’s Rain Drama – Dweepa
Anyone who has watched the film Dweepa instantaneously notices these three things: the lavishing greenery, exuberant water and evocative music. As this film had won national awards, it was often televised on Doordarshan. So for many of Indian millennials, Dweepa invokes a strong feeling of nostalgia since Doordarshan and spending time with nature were a part of their childhoods.
Released in 2002, Dweepa
is a Kannada film directed by the one of the most celebrated director of
our time – Girish Kasaravalli. Based on a novel by Norbert D’souza, it’s plot
revolves around a family living in a village named Sita Parvata situated on the
banks of Bhagavati River in Malnad region. The family consists of Duggappa – a
lower class oracle, his son Ganapa and daughter-in-law Nagi. The family earns
its bread solely by performing Nema (a
folk ritual where the oracle addresses the problems of devotees) in their inherited
shrine. Although, the family does not possess any land apart from their small
house, they still hold respect among villagers due to their ancestral occupation.
However, Sita Parvata is exposed to a new threat of submersion from the rising
waters of a dam. The villagers are forcibly displaced by the government to the
city after paying compensation for their land. Although all the villagers
accept the compensation from the government and migrate to the city, Duggappa
refuses to leave because of his cultural ties with Sita Parvata and his mythical
values and beliefs associated with it. Thus live the three desolate souls in
the haunted village of Sita Parvata.
As the story progresses, Duggappa’s family is joined by Nagi’s distant cousin – Krishna who has gained infamous status of being ineffectual within his family circles. Meanwhile, Dugajja drowns in the inundating water while performing Nema. Growing bond between Nagi and Krishna envies Ganapa – who develops jealousy towards them. When Nagi realizes that her husband is losing his mind over her closeness with Krishna, she orders Krishna to leave the village. This leaves Nagi and her husband as the sole inhabitants of Sita Parvata. To add to their struggle against rising floods – Sita Parvata welcomes a new dweller – A tiger. At the final stage in the story, Ganapa resorts to fatalism after giving up on hope to survive, while Nagi courageously fights alone to save her family. When the dam gates are opened, the dam water level decreases – reducing its hold over Sita Parvata and their life. However, Ganapa venerates their family deity – for protecting them; thus discreding Nagi’s efforts to save them.
Although the outlining theme in Dweepa is the repercussion of development, it discusses several subtle themes which could be analysed and interpreted through characterization.
Duggappa
Played by MV Vasudeva Rao, Duggappa is the character
representing the organic relationship of man with nature. His personality is
rooted in his ethnic beliefs. He rejects the Government’s offer to relocate for
two reasons: His conviction in the legend that Sita Parvata shall never
inundates, and his commitment against breaking away from his ethnic ritual and
practices. An assertive man in his dying years, Duggappa is disheartened with
the modern perception of wealth; or particularly rejection of ‘ethnic and
cultural beliefs’ as a capital. When his existential faith is challenged by the
rising waters, he decides to confront fate by fighting till his last breath.
Ganapa
Played by Avinash Yelandur, Ganapa is the most pessimistic
character in the film. He holds a fluctuating state of mind and is uncertain
whether to leave Sita Parvata or not. He is hesitant to take decisions in life,
and relies on the choices of his father. He is timid to start a new life in the
city and resolves to stay back in Sita Parvata. He is disappointed with the
Government’s view that disregards ‘communal reputation’ as an asset which can
be considered for monetary compensation. Adding to his pessimism, he dislikes Krishna
and his sense of humour. He further dislikes the growing closeness between him
and Nagi. Towards the end of the film, when their lives are threatened by flood
and a tiger, he resolves into absent fatalism, while Nagi spends the night
protecting them. At one point, he even
confesses to Nagi that he has lost faith in life, by saying what he thought to
be “courage” was mere “foolishness.” When their lives are saved from floods and
the tiger, he regards it as their Deity’s blessings, disregarding Nagi’s
efforts and further quoting her to be merely an instrument of God to perform
the miracle.
Krishna
Played by Harish Raj, Krishna is literally a charming and
flamboyant character in the film. For Nagi, he is a source of fascination
because of his carefree attitude and his experiences of city life. Although he is
fond of his days in Mumbai, he does not like anyone talking about his personal
life: when he attempted suicide after a love failure in Mumbai. Despite his
cheerful nature, his relatives disregard him as being impractical in life. He
comes to Sita Parvata as a support-system on request by Nagi’s mother. But his
city attitude does not seem to sync with Ganapa’s family, as he fails to
understand the hardships of life in a village, or life as a whole. For
instance, Krishna thinks life in a village is easy, but fails to do simple
tasks such as bringing back the cows from grazing, or disregarding the efforts
involved in farming. His comments are often perceived to be offensive by Ganapa,
who feels Krishna’s presence to be a burden to his family. When Nagi orders him
to leave Sita Parvata to save her marriage, Krishna refuses to go as he fears
criticism from society for being a loser.
Nagi
Soundarya brings in the life and beauty to Nagi’s character.
She represents the most optimistic character in the film. Although born in a
city, she adapts to rural life after her marriage to Ganapa. Although Nagi does
not oppose her husband’s occupation, she nevertheless has a desire to live a
life like the rest of villagers i.e. practice agriculture. Nagi spends her time
taking care of the house, collecting bamboos from the forest to weave baskets,
and helping Heramba Hegde’s family with menial jobs. She persuades her husband
in vain to leave Sita Parvata with the rest of villagers, and to start a new
life in Shimoga city. When her family refuses to move to the city, she retires
to the life in village, accepting it as her fate.
Nagi seeks optimism in all circumstances, despite harsh
reality. When only her family is left behind in Sita Parvata, she expresses her
desire to indulge in agriculture. Nagi is a woman of valour. When Krishna and Ganapa
has an argument and both refuse to go out and look out for Dugajja in the rain,
it is Nagi who takes the boat alone to search for Dugajja. Krishna seems to
mesmerize her, as his experiences in the city bring hope in her mind. Nagi
feels Krishna is someone with whom she can relate to, since she too was raised
in a city. However, when she realizes that Krishna’s presence is obstructing
her relationship with Ganapa, she orders him to leave nonetheless.
The courage in her is brought out in full capacity, when she
battles alone to protect her family from the flood and the tiger, while Ganapa
has given up on life. Although he has lost confidence, she boosts him by
reminding of his own words – to keep fighting, no matter what.The last sequence
in the film where she burns piles of wood and plays the drum to keep the tiger
away, while her husband pretends to sleep: brings out the courage of a woman in
its full potential. When the flood level decreases due to the opening of the
gate, she is excited to inform this to her husband. But when her husband
discredits her efforts in saving their lives, she is left dejected. Thus she
lives in an island of loneliness – internally and externally. The movie ends
with a Vachana by Akka Mahadevi, a Kannada saint-poet of 12th
century. This poem reflects Nagi’s state of mind:
A muddy pond
behind, A muddled stream ahead
The Rain
The Rain becomes a major character in the film, as it too
has a vital role in the story. The increasing amount of rain – increases the
level of floods: thus creating major developments in the plot. It is basically
the rain, which drives the story. The film associates the transition of rainy
season with the culture of Malnad in a poetic manner by referencing local
proverbs that describe the intensity of rain fall during various periods of
rainy season such as Ashlesha, Makha, Swati, Chitraetc.Further, when the
increasing flood brings the water to Ganapa and Nagi’s doorsteps, despite being
worried, they offer salutations to the River for such auspiciousness. This
hints at the customs prevalent to Malnad region.
Shot in the Sharavati Basin near Sagara, Dweepa offers some of the wonderful rain
sequences that will haunt the audience for a long time. One of such scene is
the funeral of Duggappa. The funeral takes place against the growing intensity
of the rain, yet Nagi and Ganapa are sitting separately at a distance –drifted
apart by shock and regardless of getting drenched in rain. Krishna holds two
umbrellas – running to each other, trying to protect them from getting
drenched. But the rain keeps roaring with its full intensity, which brings it
out as a lively character in the film. This scene is perhaps the best scene in
the entire film that depicts how mortal the power of humans is, compared to the
wildness of the nature. The rain has not only isolates the village of Sita Parvata
from the rest of the world, but also secludes the mind of its inhabitants from
each other, fragmenting their minds itself into islands, Dweepa.
Apart from the inner themes that enriches the story, Dweepa leaves the audience contemplate
on the ‘idea of development’. A serious question is raised regarding the
ethicality of displacement of people by the Government for constructing dams.
It is not only a community that is being displaced, but also an age old
culture, customs, way of living and the beliefs associated with that place,
which is being tampered in the name of development. For instance, in the film,
characters such as Subba Bhatta and Heramba Hegde, - who lived their life in
Sita Parvata growing areca nuts start rice mill and grocery stores respectively
in Shimoga city as a result of displacement. More importantly, the film
questions to whom is the development linked to? For the sake of increasing
capitalism concentrated in a city which is hundreds of miles away, the burden
is put upon peaceful lives of poor agrarian families residing in the remote places.
Further, Dweepa points
at the failure of government to identify the wider definitions of wealth. When
a community (or a culture as a whole) is displaced by the
Government, it compensates by assessing only the physical wealth such as land,
property etc. But for a family like Duggappa’s, Nema and the Gaurava (respect)
they receive from the community for performing it – is the only wealth.
Moreover, performing Nema was their sole source of income. However, the
Government fails to recognize such aspects to compensate a fair amount. Thus, Dweepa concludes, leaving behind a wider
range of questions regarding emotional, cultural, environmental and social
issues in the minds of the audience.
End Notes:
Movie Link: https://www.youtube.com/watch?v=EY-qzjFtda8
Image Source: Internet
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