Thoughts on ‘Thithi’, a small film with big buzz and bigger ambitions.
The burden of expectation can sometimes be too much for a small film. Raam Reddy’s Kannada directorial debut Thithi won last year’s National Award for Best Feature Film in Kannada, which seems just about right. When we think “National Award-winning film,” we think a certain kind of film – Thithi is exactly that kind of film. But in addition, Thithi won awards at the Locarno, Marrakech, Bengaluru and Pune film festivals. Francis Ford Coppola, the director of The Godfather, called it “a joyous view on life in a village in India with unforgettable characters.” And Anurag Kashyap – Indian indie cinema’s saviour, torch-bearer, problem child, traitor, all rolled into one – said it was one of the recent films he wished he’d made (the others being Sairat and Visaaranai). Suddenly, Thithi didn’t look like a “National Award-winning film.” It began to look to like something Martin Scorsese should be taking notes from.
So I’ll admit to a bit of disappointment when I left the theatre after a 10 am screening last Sunday. (It was a full house. So yay, Chennai film lovers.) I found it a good, at times very good film – just not the great, make-me-a-better-person experience I’d been led to expect. (Not the film’s fault, I admit. It is what it is. This is more a function of all the buzz around it.) But before getting to Thithi, I have to ask you a question. Would you call a Kannada (or Tamil or Gujarati or Bengali) film “regional cinema”? I would, simply because only Hindi films – in their domestic release – are released all over the country while films in all other languages play mostly in the regions they are made in (and maybe a handful of big cities outside). Hence, regional cinema, cinema of a region. But someone on Twitter told me to stop categorising film as local, regional, national. “Film is a film.
I’d call Thithi a regional film that’s almost universal, even primal, in its abstraction – it ends with a cave painting of an image, an old man in front of a fire. And it begins with an older man, all of 101, commenting rudely at passers-by. This girl is swaying her hips too much. That man’s wife has found someone better. I laughed, but with some uneasiness. Given that these “festival films” play almost exclusively to urban audiences, both within and without India, are we laughing at or with this villager, and the woman who intimidates men with her colourful swearing? Is this another instance of an urban filmmaker peddling “village shtick”? And “village kitsch” – with a superstition-feeding astrologer and a girl getting her nose pierced as women chant around her? If so, Raam Reddy is in good company. Satyajit Ray was once accused of something similar, selling India’s poverty to international audiences.
After throwing that pebble into the pond, let me tell you that the core of Thithi is quite magical. Put it prosaically and it sounds like this: The 101-year-old man dies, and we follow his son, grandson and great-grandson during the ten-or-so days leading up to the religious ceremony the title refers to. The son, Gadappa, is the film’s locus. When he receives the news that his father has died, he shrugs and walks out of the frame – only to re-enter the frame and head in the opposite direction when reminded that his village lies that way. At first, we think he’s a fool, but he’s more of a blithe fatalist. When his son Thammanna walks him to the bus stop, he says he will board whichever bus comes first. He does this, and then realises that his supply of his favourite Tiger brandy is exhausted. He asks the bus to stop. Or maybe it’s really the universe asking.
Because Gadappa gets down at this place, he runs into a nomadic shepherding community, decides to stay with them, becomes one of them. And one day, when someone steals their sheep, he recompenses them using the money Thammanna stuffed into his bag. If you see who stole the sheep, you’ll realise that this is karmic reparation. A seemingly random decision – getting down from the bus – results in the righting of a wrong, just like the seemingly random decision by the shepherds to move out ends up righting another act of wrongdoing, preventing a man from getting a tract of land by unlawful means. Gadappa is a great character. He narrates to the nomads what appears to be his life’s story, and then admits he doesn’t know if it’s real or a dream. “What happens will happen. It’s better to be happy.” But though he sounds like one, and despite his apparent renunciation of his family, Gadappa is no seer or mystic – merely a cog in the cosmic system of checks and balances. And you finally see the reason behind the awesome buzz. This wisp of a film ends up carrying almost metaphysical weight. A butterfly flaps its wings in a remote village in Karnataka, and justice prevails.
There’s a sense of the interconnectedness of it all. The stolen sheep and the Tiger brandy are echoed in Gadappa’s favourite game that goes by the name of… “sheep-tiger.” The great-grandfather’s reputation as a playboy connects with (Thammanna’s son) Abhi’s fascination with porn. The great-grandfather’s demise in the midst of barnyard animals connects with Abhi having sex in the midst of… more barnyard animals. (An eros/thanatos link. I told you this small film likes to think big.) But whenever Gadappa is off-screen, Thithi stumbles. The other characters aren’t half as compelling. In addition to Thammanna’s attempts to organise the thithi, we get a most lacklustre (and generic) romance between Abhi and a girl from… the same shepherding community Gadappa is now with. (More interconnectedness!) If Thithi transcends these easily overlooked failings, it’s also due to the excellent cast of non-professionals, who never disturb the illusion that we are inside this village. In other words, we don’t have Aishwarya Rai Bachchan playing Thammanna’s beleaguered wife.
An edited version of this piece can be found here. Copyright ©2016 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Vighnesh Hampapura
May 28, 2016
Is this the first Kannada film to be written about in your blog? Then, that’s another feather into its cap! 🙂 More on the film later.
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hrishi
May 28, 2016
Wow! The last line was a direct attack on her latest film?
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Sathish
May 28, 2016
There was an uneasy distance between this movie and the audience.. There is so much for the audience to be immersed into the lives of the villagers, but I personally felt that the movie was not ready to accept us into their lives. (except of course Gadappa!). As the time ticked away, I wanted the movie to end – I felt like an unwanted guest in their story – who wanted to return back to his normal life. Was that what Raam Reddy was aiming for? I am not sure.
I kept wondering through out the movie how much better or worse this movie could have been, had it fielded some professional actors.
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sanjana
May 28, 2016
Very interesting story. You have to bring the brains and use it to watch and savour this movie. Unlike films where the makers ask us to leave the brains behind to enjoy the movie!
One Pattabhi Rami Reddy directed the famous Samskara years back.
Is this Reddy related to that Reddy?
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Manikandan V
May 28, 2016
Four Purusharthas- Kama,Artha,Dharma & Moksha play out nicely through four generation characters
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Radhika
May 28, 2016
It is indeed a charming and endearing movie with a surreal, understated humour, which reminded me of Sai Paranjpye’s urban comedies, but I too left disappointed, the hype had made me expect something outstanding.
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shipz
May 28, 2016
Hope u watch other recent good Kannada films like Kendasampige Rangitaranga etc
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Vighnesh Hampapura
May 28, 2016
@sanjana No, no. Pattabhirama Reddy isn’t related to Raam. Raam is the grandson of Karnataka’s first Chief Minister, KC Reddy.
@Sathish I felt the movie was more of an observation than immersion. What I mean is that the director just kept the camera amidst their lives, and it was captured and transmitted to our screens. All the choices made in the film support this cause – the story just flowing in front of us than being told, and the sound – it was very heartening to listen to those unaltered village sounds. That has to do everything with live sound recording!
Thithi was the opening film of this year’s Bangalore International Film Festival, and many of us had no idea what we were to expect. So, we just sat back and waited for the film to start. And it was so fresh. And, boy, how I liked the approach.
I don’t know if the audience felt that way, but I feel Raam Reddy didn’t intend to sell Indian poverty to international audience . He’s just added a playful note to this whimsical and entertaining tale. And the chatter of Century Gowda – that isn’t wholly true. He just make things up about people and taunts them – what else has he got to do?
Here’s my thoughts on Thithi – https://vighneshhj.wordpress.com/2016/05/28/never-a-thithi-like-this-before/ .
Feedbacks are heartily welcome! 🙂
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Sathish
May 29, 2016
@vighnesh, I totally get the part that he wanted the movie to be an observation, rather than an immersion – a different movie making idiom from what we are generally used to. But, how I wished that he immersed us in the story!
Also, I loved the subtitles. Thankfully, they were not a literal translation, rather a translation that carried the same idea effectively in English (at least the parts that I understood in Kannada).
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namritabopanna
May 29, 2016
Sometimes we are so self involved we forget the world isn’t according to ‘us’…any of ‘us’ who assume that our thoughts are the driving philosophy of life and what should be. Tithi is one of the most honest movies I have seen in a lifetime…and if it doesn’t immerse ‘us’ its because ‘we’ in our modern ‘oases’ of one sophisticated kind or the other, have lost touch with reality. Its a great film and as truly great films go its appreciation will be limited. Ere Gowda & Raam Reddy have done a phenomenal job!
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Filistine
May 29, 2016
“village shtick”? And “village kitsch”
Just realised shtick and kitsch are anagrams. Don’t know why that’s relevant, though
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Sceptic
May 30, 2016
Hmm, too much of the review is about the critic’s expectations rather than the movie itself. I guess its ok for viewers to do so but one expects more from critics – please judge the film for what it wants to be – a mostly pleasant but finally quite poignant short vignette of village life which is driven by a clever and funny premise.
Its also quite unfair to label it as pandering village kitsch – the nose-piercing scene was an effective metaphor for what was to come rather. Plus seeing astrologers is hardly village kitsch, all Indians do it!
@vignesh, I dont think these were “unaltered village sounds” at all. For example many of Gadappa’s scenes have the “brain fever” bird (https://en.wikipedia.org/wiki/Common_hawk-cuckoo) calling in the background – a nice touch indeed!
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P
June 4, 2016
I haven’t watched the movie but I love that the great-grandson is named “Abhi”. It is such a correct touch. That is the name that most parents who wanted to their kids to have a “modern” name(and not the -appas and -annas of yore) gave them- there were 5 abhisheks, 2 abhilashs, 1 abhinandan and of course the ever ubiquitous Abhi Gowda- all in my tiny school in Mysore 😛
LOL. Just for that touch, I think I will watch the movie 🙂
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Prem
June 8, 2016
Manikandan, after watching this movie I feel your one line description is apt. Though in the film in the film it was done far too simplistically. There was no heft to the film, it remains superficial throughout.
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