| Director:
Sharada Ramanathan |
 |
|
Cast: Aditi Rao Hydari, Manoj K. Jayan, Sashi Kumar, Hamsa
Moili, Y Gee Mahendra, Chandrasekhar, Manju Bhargavi, Junior
Balaiah, Aishwaria |
 Set
in the 1920s when the Devadasi system was prevalent, 'Sringaram'
centers on Madhura, a temple dancer who dares to break the
shackles of her profession. Though it's her debut work, director
Sharada Ramanathan reveals an appreciable grasp of the medium.
The theme she has chosen (based on the story penned by Indira
Sounderrajan), and the passion and sincerity with which she has
handled it, makes 'Sringaram' a classy, aesthetic piece of
creative work.
The director has some seasoned hands to support her. Madhu
Ambat's elegantly framed shots, Lalgudi Jayaraman's lilting
melodies and Saroj Khan's skilful choreography enhance the mood
and feel of the film. The cast is a mix of the experienced and
novices.
Madhura,
the Devadasi who earns pride of place and the envy of her ilk
when she is anointed as the temple dancer and earns the
patronage of the zamindar, would have been differently
interpreted in the hands of a more seasoned actress.
But Aditi's advantage is that
she comes with no image to distract, and this surprise element
works to her advantage. So, while her peformance may have it's
rough edges, the debutante's engaging screen presence, and the
fact that she is a trained classical dancer, works in her favour
and lends the character of Madhura a freshness and a raw sensual
appeal.
Manoj K. Jayan brings out
effectively the varied facets of the character of a
foreign-educated zamindar. The mirasu's initial dallying with
Madhura, his chauvanism, his petty-mindedness, the callousness
with which he treats his wife, and his insensitivity as he tries
to barter Madhura to earn favour with the district collector,
are all brought out splendidly by the actor.
The lesser roles too are well
etched, the actors fitting in well. Sashi Kumar as Kasi, the
temple watchman and an admirer of Madhura's dance; Aishwaria as
the zamindar's wife who doesn't always take her husband's
misdemeanors lying down; Chandrasekhar as Kangani, the loyal
servant; Hamsa Moili as Kama, the Devadasi-in-waiting; and Y Gee
Mahendra as the sympathetic temple priest, all bring meaning to
their roles.
 The
film opens in 1950, and unfolds through the eyes of Kangani, as
he tells Varshini, Madhura's daughter (Aditi plays the daughter
too) the story of her birth.
The script could have been a
bit more tightly etched. Like the couple of extra dances towards
the later part. And the scenes where Kasi breaks into song, one
too many times. The scenes of the extremists, and of Kasi's and
Madhura's tryst with them too have a jerky flow. But these in no
way rob the film of its aesthetic appeal.
'Sringaram' has participated in
various film festivals in India and abroad and has won three
national awards, for it's cinematography, music and dance
choreography. It is ideal viewing for a discerning viewer who
looks out for something different, meaningful and rooted to the
soil, than the mindless, run-of-the-mill stuff churned out
regularly.
Malini Mannath
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