Raghu is never shown in the film , Consequently one who sees the movie feels that Raghu can be his/her son. These type of stories are very common to SriLanka as well. I happened to watch this great film in 1992 but still I remember it mainly on account of the very strong script of the movie. Raghu's father's face expresses one billion messages . An actor like that would be hardly discovered .Raghu is the only hope of the family and is finally born in the mindset of the father . Rain means the tears of the father. These type of films must be demonstrated in all over the world specially in SriLanka. Devaka S. Jayasuriya 90, Old Kesbawa Road Nugegoda.
4 Reviews
Movie made truly from the heart.. i really felt the rain poring over the river ,falling direct from my eyes
abhuvan24 April 2001
Movie made truly from the heart.. i really felt the rain poring over the river ,falling direct from my eyes. Shaji did excellent job. The tiniest details of sound shows the quality of the movie making. Really excellent master piece.
Move is really good
ach196423 April 2008
I like to watch this, how can i get this.ach19642@hotmail.com I watch this may be 15 years a go. it's relay made from the heart. this is always happen in developing countries.Move never show the "rajan" but i feel i always know him. The movie is inspired by the 'Rajan Case' that occurred in Kerala during the time of the emergency in 1978. The Chief Minister of the State attended a college function where a boy sang a song against him. The boy was caught by the police, brutally tortured in the police station where he died. After the Emergency, the boy's father filed a case against the government thus sparking off a big debate.
The revenge of a civilized man .....
PimpinAinttEasy2 March 2016
Warning: Spoilers
Dear Shaji.N.Karun,
your film maybe described as the revenge (a harsh word in the context of this film) story of a civilized man. It was quite notable that the tribal drumming background music was used during the scene where the disillusioned father finally decides to stand up to the state and ..... write a letter asking about the whereabouts of his son. It was a very striking and original scene when you consider all the revenge movies that have come out. Not him walking enraged across a paddy field or with goons beside him. But just the civilized and noble act of sitting down and writing a letter of protest.
Premji as the guileless father awaiting the return of his Naxal son (arrested by the police) turns in one of the greatest performances in the history of Indian cinema. The scene where he cries and throws tantrums like a little child when his daughter tells him to give up his wait was very tough to watch.
I wonder whether you borrowed the pacing and style of the film from Adoor. I have not seen many films by either of you so I am not the best judge. I noticed that you had the rice eating scene just like in an Adoor film.
The use of background score was a bit of a distraction at times. The noiselessness of rural Kerala was music enough. Some of the shots of the untouched village were outstanding. Like the village, even Chakyar (Premji) is untouched by the ways of the world.
Archana as Chakyar's daughter was a bit of a disappointment. She stuck out like a sore thumb in front of Premji's inspired Chakyar. I was not overawed by your film. Somehow I am unable to completely reconcile with the deliberately languid and dull style of some of you Malayalam art filmmakers.
Best Regards, Pimpin.
(6/10)
your film maybe described as the revenge (a harsh word in the context of this film) story of a civilized man. It was quite notable that the tribal drumming background music was used during the scene where the disillusioned father finally decides to stand up to the state and ..... write a letter asking about the whereabouts of his son. It was a very striking and original scene when you consider all the revenge movies that have come out. Not him walking enraged across a paddy field or with goons beside him. But just the civilized and noble act of sitting down and writing a letter of protest.
Premji as the guileless father awaiting the return of his Naxal son (arrested by the police) turns in one of the greatest performances in the history of Indian cinema. The scene where he cries and throws tantrums like a little child when his daughter tells him to give up his wait was very tough to watch.
I wonder whether you borrowed the pacing and style of the film from Adoor. I have not seen many films by either of you so I am not the best judge. I noticed that you had the rice eating scene just like in an Adoor film.
The use of background score was a bit of a distraction at times. The noiselessness of rural Kerala was music enough. Some of the shots of the untouched village were outstanding. Like the village, even Chakyar (Premji) is untouched by the ways of the world.
Archana as Chakyar's daughter was a bit of a disappointment. She stuck out like a sore thumb in front of Premji's inspired Chakyar. I was not overawed by your film. Somehow I am unable to completely reconcile with the deliberately languid and dull style of some of you Malayalam art filmmakers.
Best Regards, Pimpin.
(6/10)
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