I
didnt know that Anna dies in the movie 'Annayum Rasoolum' till I
watched the end of the movie the other day. Before that I have seen
Rasool,stalking Anna. on another occasion Anna giving into the pursuit
of Rasool. On yet another TV surf , I saw him land in Ponnani(?) after
being involved in the clashes with the family of the girl. Then once I
caught them moving to a new home and Anna living the waiting part
for her man to return after work. This is how i lived through the patches of
the movie piecemeal basis. Though that statement makes it read like a
deliberate act, as if I have cut myself off intentionally far from cinematic truth. The truth was
that sometimes the ad factor, often the travelling remote controller,
occasionally the visitors, sometimes forgetfulness, may be running after
a domestic errand, an abrupt call - these denied me, perhaps fortunately, the rest of the
movie. But that afforded me the advantage of living through a spectrum
of possibilities. Will Anna give in? Will Rasool,move off? How did it
all start? Where are they headed? Will those gazes stay? Whats in store in those side ways gaze of Anna, with wisps of hair playing curtain like?
How about watching a movie in the middle, one piece of it where you abruptly walk in to a scene out of nowhere and then walk off all of a sudden? Look taking a sneak peek into that piece of somebody else's life? Since many movies, in a way contain very good snatches of art, slices of life, admirable life for that matter, why not cash in on the weird tangents of the possible? Since thousand of movies flirt with excellent possibilities, why not catch hold of that before it grows and takes the promised wind out of our / their sails?
When you surprise a movie by catching it in the
middle, it affords the viewer the luxury of imagining it backwards. Well, forwards too. What
could have gone by before the movie broke into you? Since you have the
freedom not to know what went before, the movie opens a completely
different kind of liberty, the kind which is different for each one of
us. In this viewerly reading, the viewer has the freedom to be. The
same happens once you break off from the movie in the middle. You are in
the dark as to the ending and you end it your way. Overnight we know
that we may not end it one way or another since we have been through
numerous bad ends by the directors. You here have the right to imagine
it forward too. Take the plot to a destination Art will cherish.
Imagine you catching Jurassic Park with
the shot of the camera gliding down the water fall? A breath taking
scene worth a million sonnets, where the world of the extinct, pre-human, technology midwifed
creatures look impossible. What if you break off after that scene?
How will your mind imagine the movie backwards? Forwards? Would it be possible to
imagine it backwards the way it really happens in the movie? The girl
and the boy at the edge the ship in the Titanic arms spread, taking the
sea on their face and making us wish away to the ultra normal? If this is the only scene which encountered you, where will the movie go? Or ,
imagining walking into 'Bombay' with the heroine glimpsed in visual tatters in the a song scene...
Like the hundred of scenes we have left hanging on
our lives, the movie adds the romance and retains the what next, what
may next kind of curiosity. The boy and mom we caught arguing in the
railway station, and the mom furiously walking off, the mon who was seen
taking an auto and leave, where did that story end up? The two men who
were leaning on the half wall at the marine drive in the morning,
disregarding the rising sun and the life about to surround them, what
happened to them? The Japanese traveller on the train, with big tattoo
on the broad calf , tugging his backpack and looking pensive, shifting
the compartment a third time, with another man from the same country on
the third time, what are they up to? Are these unlike the pieces of
puzzle one can catch in the middle of a movie?
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