| 1 | '''Swaham''' |
| 2 | |
| 3 | |
| 4 | aka My Own; Destiny |
| 5 | 1994 153’(141’) col/b&w Malayalam |
| 6 | d/co-sc Shaji N. Karun pc Filmfolk |
| 7 | p/st/co-sc S. Jayachandran Nair co-sc Raghunath |
| 8 | Paleri c Hari Nair m Raghavan K., Isaac Thomas |
| 9 | Kottukkapalli |
| 10 | lp Venmani Vishnu, Haridas, Aswani, |
| 11 | Mullenezhi, Sarath, Gopi, Praseetha, |
| 12 | Rudraprathapan, Gopalakrishnan |
| 13 | |
| 14 | |
| 15 | Stunningly photographed melodrama of a |
| 16 | family in Thenmala on the border of Kerala and |
| 17 | Tamil Nadu. When the Brahmin Ramayyar |
| 18 | (Haridas) dies, his wife (Aswani) has to raise |
| 19 | their two children and look after the coffee |
| 20 | shop that constitutes their only income. The |
| 21 | shop is located near a countryside railway |
| 22 | station whose manager offers them support. |
| 23 | They are evicted by their landlord (Gopi) and |
| 24 | the mother raises money to pay a bribe to get |
| 25 | her son enlisted in the army. The son dies in a |
| 26 | demonstration protesting against state |
| 27 | corruption. A quotation from Kalidasa’s |
| 28 | Shakuntalam announces the film’s intention to |
| 29 | offer a new way of narrating a familiar |
| 30 | Malayalam film plot, which would include all |
| 31 | the detail that is usually discarded from such |
| 32 | stories. The images change from colour to b&w |
| 33 | as the story moves between the past and |
| 34 | present, arriving at a tragic structure that |
| 35 | furthers the director’s favoured idiom (cf. |
| 36 | Piravi, 1988) of characters struggling to come |
| 37 | to terms with the emptiness left by death. |
| 38 | |
| 39 | [[Film]] |