‘Thithi’ is a philosophical, slice-of-life film with a good lurch of humour

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In a tiny encampment of Nodekoppalu in Mandya district in Karnataka, a 101 year aged man, righteously called Century Gawda dies while peeing. He is survived by his son Gadappa, grandson Thamanna, and good grandson Abhi. Preparations start in full pitch for Century Gawda’s wake rite — or thithi.

Raam Reddy’s inhabitant endowment winning Kannada film Thithi could not be some-more distant private from a apparent story of death, grief and mourning. Instead, it’s a deep, philosophical and devout cut of life film, seen with a good lurch of humour.

Little consternation afterwards that this Indo-US prolongation gets a inhabitant melodramatic recover with English subtitles, after travelling opposite festivals and winning prestigious awards. It has also gotten a large thumbs adult from a likes of The Godfather executive Francis Ford Coppola and Shekhar Kapur.

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A still from Raam Reddy’s ‘Thithi’. Image from Facebook.

Unlike many filmmakers who would try a overwhelming cinematography to constraint a country beauty of a village, Reddy focuses usually on a impression of a village. So, while we see shepherds and goats, women operative in a fields and cooking together, and villagers slicing wood; there is no try to uncover a lushness of a trees or a still attract of a locale.

To emphasize a unequivocally matter of fact opinion of a villagers towards both life and death, Reddy keeps things low key. For a 26 year aged Banglorean, alumni of St Stephens college in Delhi and film propagandize in Prague, Reddy seems to have a knowledge and sharpness of Dalai Lama. He explains, “In villages, life is not over-dramatised. It’s a cinematic choice to give a dry diagnosis to a theme and keep it impassive or intense. The sound design, a colours were not directed towards display a sensuous greenery though instead to emanate a lightness. The thought is to brew a philosophical elements easily so that a story doesn’t go divided from a enlightenment of a village. So everybody talks loyal in a film.”

And indeed, a sudden, prolonged digression in a film by Gadappa, is a many loyal speak seen in any Indian film. A explanation is not done to demeanour like a revelation, by a elementary proceed in that Gadappa tells his story and a palliate with that villagers accept it though a snippet of shock. Reddy attributes this to a change of novel on him, including works of Murakami and Kafka. “As Gadappa says in a film, is it a dream or is it a reality?” Reddy ponders.

It is this well-spoken brew of realism of farming life with novella that creates Thithi remarkable. Every impression is so real, we could be examination a documentary. The reason being, these are all non-actors. Many filmmakers have used this proceed with a good understanding of success, as seen in Satyajit Ray’s progressing works and some-more recently, final year’s inhabitant endowment winning film, Court.

You see bizarre faces, that turn familiar, like a male who springs from nowhere, to dance everytime there is a celebration. The 3 categorical characters don’t unequivocally correlate many with any other. They are seen in their unique pursuits; Gadappa mostly sitting alone, smoking bidis and drinking; Thamanna, in contrast, utilizing a land inheritance, and a youngest, Abhi, in prohibited office of a lady whose nose trenchant stage is a many evocative of a unequivocally informed India. Each representing several stages of life, come together quickly in an ironical impulse of a 3 group on a motorbike, heading to a deeper and suggestive climax.

Interestingly, a women are anything though stereotyped. One of them (Kamla), stands out in with her body denunciation and her profession, that of a moneylender who orders a man to be beaten adult for his delinquent debts. Such ideal casting took a time to evolve. Reddy spent several months usually on a casting, even before essay a book along with his collaborator, Eregowda. ”You are innate an actor. Pretending to be someone else is a easiest thing. While auditioning, we would initial give them a quarrel scene,“ Reddy explains his surprising process.

His organic proceed reflects in a film. The story uses genocide as a apparatus to make a matter on life in all a shades, while staying loyal to a universe it is set in.  Art and form couldn’t be a some-more manly brew than in Thithi.