Ozhivudivasathe Kali — Casting a shade

dir. Sanal Kumar Sasidharan|2016

When artists have to portray the problems within a society, they desert the dramatics and descend to reality where actions and intentions are subtle. Caste, a necessary evil was uprooted with the emergence of a globalized world. But the remnants of hierarchical societies surface up in daily life. When they do, they bring up bitterness and a malignant comfort. Ozhivudivasathe Kali is a note on this hidden viper surfacing up now and then to satisfy its hunger. Ironically, it takes place in God’s own country.

Trailer of the cinema

Color is an important aspect of this cinema. The frames are not vibrant; but desaturated. The ‘black’ in the cinema (the term and color) is used for more darker things. 
 
The characters contribute the most to the core of the cinema: they take a stance as they would in the real society. One controls the story and barely shows up. Another does most of the hard labour for the benefit of the whole. Another demands respect for giving out orders while two more are in the trip, only for the enjoyment.
 
The camera flows (smooth and steady) with the intention of keeping the audience, only as a judge for the game the characters play. It runs longer and cuts rarely; trademarks of Realism.
 
The symbolism behind the hanging rooster is direct: it is fed with care and brought along only to be consumed in the end. The accusation of the filmmaker is simple and direct.

Comparing with Elipathayam, which was a ‘comment’ on the same society (God’s own country), this film is an ‘accusation’, another major role of cinema in contemporary society. 
 
The cinema revolves around the interaction of the characters among themselves and with the environment. The brilliancy lies in the subtle presence of the real world game in this Off-Day Game.

Originally published at koushiktamilmaran.blogspot.com on May 14, 2017.