| 1 | Amma Ariyan |
| 2 | aka Report to Mother |
| 3 | 1986 115’ b&w Malayalam |
| 4 | d/s John Abraham pc Odessa Movies c Venu |
| 5 | m Sunitha |
| 6 | lp Joy Mathew, Maji Venkitesh, Nilambur Balan, |
| 7 | Harinarayanan, Kunhulakshmi Amma, Itingal |
| 8 | Narayani, Nazim, Ramachandran Mokeri, Kallai |
| 9 | Balan, Thomas, Venu C. Menon |
| 10 | |
| 11 | |
| 12 | Abraham’s last and most complex film is told in |
| 13 | the form of an open letter from a son, Purushan |
| 14 | (Mathew), to his mother (Kunhulakshmi) while |
| 15 | interweaving fact and fiction with fragments of |
| 16 | memory. Purushan sets out for Delhi with his |
| 17 | friend Paru (Venkitesh), who is researching a |
| 18 | thesis on Durga, the mother goddess, a figure |
| 19 | traditionally though ambiguously representing |
| 20 | the cohesive forces of nature. Along the way |
| 21 | they find a hanged man (Harinarayan) who |
| 22 | seems hauntingly familiar, a suicide. |
| 23 | Reconstructing the identity of the corpse takes |
| 24 | Purushan, and a growing body of young men |
| 25 | who all have a stake in the youth’s history, |
| 26 | from the northern highlands of Kerala to |
| 27 | Southern Cochin and ends with a re-evaluation |
| 28 | of a generation’s radical past. Along the way, |
| 29 | Abraham filmed an actual quarry workers’ |
| 30 | strike, echoing Kerala’s troubled 70s, and |
| 31 | manages to endow both the journey and the |
| 32 | central character with broader historical |
| 33 | resonances in a manner reminiscent of the |
| 34 | director’s master, Ritwik Ghatak’s Jukti |
| 35 | Takko Aar Gappo (1974): a style full of irony |
| 36 | and with a free-wheelingly innovative |
| 37 | approach to sound and to narrative structures. |
| 38 | The first production of the Odessa group, it |
| 39 | was made entirely through raising funds from |
| 40 | public contributions, supported by the Kerala |
| 41 | State Film Development Corporation. |
| 42 | Abraham’s death, shortly after the film was |
| 43 | made, elevated it to cult status while also |
| 44 | merging together the fate of the director with |
| 45 | that of the main protagonist, both strongly |
| 46 | inflected with Christian themes of innocence |
| 47 | and martyrdom. |
| 48 | |
| 49 | [[Film]] |