There is a whole lot going on in Vanaprastham and it is up to the viewer as to how deep he wants to get into and enjoy the rewards. The title alludes to the last phase of a Vedic human life which is supposed to be spent in the forest seeking moksha (salvation). Its premiere at Cannes film festival followed by many other film festivals and awards are evidence to the collaboration and creativity that went into making it.
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Kunjikutan (Mohanlal) is a Kathakali dancer who has been gaining popularity and is even been referred to as ‘Asaan' (Expert) by his well-wishers. He has been learning the art form as a boy and everyone around him including his teacher are convinced of this skill. His marriage is on the rocks and his unmarried mother also reminds him of the childhood he had to endure. As he becomes more and more popular, Subhadra (Suhasini) the niece of the then Tranvancore Diwan happens to see his performance. She is infatuated by his dexterity and feels that he should play the role of Arjuna who she believes is the supreme man. They meet again over many of his other performances and she ends up giving birth to his son. Slowly, Kunjikuttan realises that Subhadra was in love only with his on-stage persona and not the man behind it. She refuses to see him and prevents him from visiting his own son. He decides to perform one last time on stage as Arjuna with his daughter playing the role of Arjuna's consort Subhadra.
Mohanlal's acting prowess has been talked about with regard to this national award-winning role, but it is something to be seen to be believed as to how he is totally at ease with the hand gestures and movements of a dance form in which he has had no formal training.
The choice of Zakir Hussain to give music for a movie featuring the traditional dance form of Kerala was a unique one. And he delivers with aplomb. The Hindustani infused BGM and the percussion is unsettling and stay with you long after. ‘Kunhikuttan' (available on YouTube) is my favourite composition and renders a magical combination of Chenda, Flute, Tabla and Hindustani vocals.
Vanaprastham is of a time when the Kathakali costume had not yet been excessively portrayed as the quintessential symbol of Kerala. Aesthetic use of ornaments and fabric which turn man into god add complexity to the narration. The period and the location are filled with details. Cinematography from Renato Berta and Santosh Sivan is soaked in the surroundings with exquisite wide shot frames. Raghunath Paleri's dialogues provide just the right measure of insights into the characters.
There is an intelligent use of water in several scenes to add facets to the emotions on display. One envies the character of Subhadra who is in no way impacted by the real world outside. She dwells in the perpetual intoxication of celestial romance. Shaji N Karun has achieved this beautiful piece of art which is sublime, poignant and haunting at the same time.
Mohanlal may have enjoyed most of the limelight with his acting prowess and this peach of a role. But direction, music and choreography have been equally important and it seems that they have not received the appreciation they deserved. As a potent intoxicant art helps to explore other levels of consciousness, but the artist himself is human, a part which allows for very few temporary exits.
