Adoor Gopalakrishnan - A film-maker who has his own Theory & Philosophy

Source: The Hitavada      Date: 03 Feb 2018 09:32:08


 

Staff Reporter,

“Adoor has his own theory and Philosophy, one who grew under the shadow of Satyajit Ray, Mrunal and the likes,” reiterated renowned Director and Film maker Dr Jabbar Patel, who interviewed the legend Adoor Gopalakrishnan at the PVR Theatre on Friday. The programme was part of the Orange City International Film Festival in which on day two, a film made by Adoor Gopalakrishnan was first screened at PVR Theatre followed by the interview with Adoor.


Seated alongside during the interview was Samar Nakhate, Film critic and Guru, and Dr Chandrasekhar Meshram, Organising Secretary, OCIFF.
Adoor Gopalakrishna has to his credit 16 National Film Awards, Dadasaheb Falke Award and Padmabhushan.


Dr Patel did most of the questioning that led to Adoor explaining his views in his soft unhurried dialect. Asked about how he sees human beings in context of changing human spaces with reference to Indian Native Sensitivities, Characters, concept of space and globalisation, the changing scenario in Social Institutions and history, about different pace, that takes the film go deeper that touches the viewer inside, its temporal structure that is very important and the entire Journey of time and how Adoor designed it.


A non plus, thinking Adoor said “Pace of the film comes from within the subject. You are not improving on it. There is a whole lot of change outside the frame. One wonders why we are not responding to things around”. He seemed to be confounded by many points and hence managed to latch on to some, as can be seen from his reply. Dr Patel asked the legend about the making of a Film maker Adoor, a boy who came from Kerala to Pune and getting exposed to masters, and archives.


A relaxed Adoor spoke on how he got started off by not being a regular film viewer, but enjoyed seeing the semi mythological films that has the audience clapping and Cheering. Such films were a few in the 30’s but in the 40’s, and later in 50’s most of the films got made in Madras. It was the Bollywood of India then. I was impressed by V Shantaram’s ‘Jhanak Jhanak Payal Baje’ and later ‘Baiju Bawra’.


About my exposure to masters, I was being taught from a syllabus that was made partly with inputs from France and Russia. I had no idea about what was in store for me. It was like jumping into the dark. I was discovering Cinema. I knew a lot about theatre and was expert. I continued to read about theatre in the library and also production in my first year, casually watching films. Prof Bahadur taught me in the second year. Indira Gandhi, then Minister for Information brought an expert from London to introduce film appreciation and advise the government on how to introduce Film appreciation. Satyajit recommended to Indira Gandhi the name of Ghatak who worked in Kolkata and he was appointed Vice Principal. Ghatak was a Film scholar. I learnt a lot from him. Film institute played a mojor role in changing the Cinema” remarked Adoor.


Dr Patel asked Adoor about the lyrical style,use of folk art, Kathakali, Mohini Attam, on which Adoor explained how in the olden days there was the film reel, that had a fixed time duration and one had to fit the scene in that. I do not like using technology for such things and making cuts. I made a simple adjustment that would appeal the viewer sitting in the front seat, getting a feeling of dance form, its beating rhythm with the light revealing only the performer”. Adoor would have continued on an on but time constraint led to the programme concluding on this mysterious note.