| 1 | '''Piravi''' |
| 2 | |
| 3 | |
| 4 | aka Birth |
| 5 | 1988 110’ col Malayalam |
| 6 | d/co-sc Shaji N. Karun pc Filmfolk |
| 7 | co-sc/st S. Jayachandran Nair co-sc Raghu |
| 8 | c Sunny Joseph m Mohan Sitara, Aravindan |
| 9 | lp Premji, Archana, Lakshmiamma, |
| 10 | C.V. Sriraman, Mullenezhi, Chandran Nair |
| 11 | |
| 12 | |
| 13 | A visually engrossing yet austere directorial |
| 14 | debut by Kerala’s leading cinematographer. |
| 15 | The plot is taken from actuality and concerns a |
| 16 | frail but dogged old man, Chakyar (Premji), |
| 17 | who obsessively searches for his vanished son, |
| 18 | Raghu, venturing even into bewildering |
| 19 | Trivandrum to seek an audience with the |
| 20 | Home Minister. The man’s daughter learns that |
| 21 | her brother probably died in police custody |
| 22 | after being tortured, but she cannot bear to tell |
| 23 | her father who continues to hope and to |
| 24 | search. However, the old man’s grip on reality |
| 25 | is slipping fast and he begins dreaming that his |
| 26 | son is with him. The story is based on the |
| 27 | disappearance of Rajan, a Naxalite sympathiser, |
| 28 | during the Emergency. Rajan’s father later sued |
| 29 | the Congress-I Government. The film’s force |
| 30 | comes from its skilful orchestration of time and |
| 31 | space into fascinating rhythmical patterns |
| 32 | interacting with land and cityscapes, drawing |
| 33 | the viewer into the father’s obsessive search in |
| 34 | everyday, indifferent surroundings. It is also |
| 35 | highly mystical, and deflects a major real-life |
| 36 | incident with direct political repercussions into |
| 37 | a brand of orientalist fatalism. |
| 38 | |
| 39 | [[Film]] |