| 1 | '''Anantaram''' |
| 2 | |
| 3 | |
| 4 | aka Monologue |
| 5 | 1987 125’ col Malayalam |
| 6 | d/s Adoor Gopalakrishnan |
| 7 | p K. Ravindranathan Nair pc General Pics c Ravi |
| 8 | Varma m M.B. Srinivasan |
| 9 | lp Ashokan, Mammootty, Shobhana, Balan K. |
| 10 | Nair, Bahadur, Vempayan, Sooraj, Sudheesh, |
| 11 | Kaviyoor Ponnamma, Chandran Nair |
| 12 | |
| 13 | |
| 14 | Gopalakrishnan’s experiment with subjective |
| 15 | storytelling. The film centres on a young man |
| 16 | Ajayan (Ashokan) who narrates two stories |
| 17 | about himself in the first person. He was |
| 18 | abandoned by his mother, raised by a doctor, |
| 19 | and proved himself a consistent misfit. Much of |
| 20 | his fantasy, into which the ‘reality’ of his |
| 21 | second story merges, revolves around the |
| 22 | figure of his foster-brother’s (Mammootty) wife |
| 23 | (Shobhana). The film marks a major shift from |
| 24 | the director’s previous Mukha Mukham |
| 25 | (1984) which, despite its critical depiction of |
| 26 | politics, retained Gopalakrishnan’s |
| 27 | commitment to developing a tradition of Kerala |
| 28 | melodrama. Anantaram is much more cynical, |
| 29 | descending into a subjectivity bordering on the |
| 30 | paranoid. Gopalakrishnan says that the film |
| 31 | attempts to ‘relate an experience’, nothing |
| 32 | more, of a ‘state of intense despair and angst’. |
| 33 | |
| 34 | [[Film]] |