Gowri’s gaze lingers wistfully on the horizon, a silent testament to her longing as she peers out from the confinement of her room in the eldercare home. The subject of her vigil, obscured and distant, reflects the autonomy she once possessed. With the passage of years comes reflection, but for Gowri, a foreboding question burns brighter each day: In the evening of life, do Kerala’s seniors preserve any autonomy in deciding their fate, the freedom to choose their sunset dwellings?
In a society racing the relentless currents of modernity, the film ‘Jananam 1947, Pranayam Thudarunnu’ asks pressing questions about the place of the elderly in this forward stride. This poignant tale is meticulously woven by debutant director Abhijit Ashokan, whose earlier scriptwriting achievement includes ‘Kolumittayi’, a celebrated children’s film that bagged the Kerala State Film Award in 2017.
This new cinematic venture centers on Gowri and Sivan, played with finesse by Leela Samson and Kozhikode Jayaraj, exploring the undertone of solitude that often accompanies the loss of a partner in later years. With an ensemble cast including Deepak Parambol, Anumol, Irshad Ali, and Noby, the characters give voice to the unsung narratives of the aged.
Gowri, a retired teacher ensconced in a modest eldercare facility, yearns for the familiarity of her own abode, to reclaim the shrinking spaces of her independence. In contrast to her son’s indifferent rebuttals, Sivan, a widower and an employee at the home, presents an unusual proposition—marriage. Though the disparate threads of their socio-economic backgrounds loom large, the prospect of matrimonial unity germinates as an elixir to Gowri’s isolation.
It’s at the crossroads of decision that all semblance of tranquility fractures, as Gowri dares to accept her friend’s advice. Both she and Sivan discover their children’s opposition, mirroring each other in fervent resistance, illuminated by fear of financial dispossession and social ire. The ensuing turmoil casts a stark light on society’s underlying values.
Cinematographer Santhosh Anima paints in visual contrasts the shift in Gowri’s circumstances. Traded are the rigid confines of the institution for the living canvas of paddy fields and unbounded nature, a metaphorical release into a world outside barred windows. As the story unfolds, the film does not hasten the evolution of this singular companionship but lets it unfurl with a grace reflective of the characters’ ages.
Sivan’s humble background as a farmer offers a canvas on which the complexities of this alliance manifest. Jayaraj’s portrayal captures the character’s awe and earnestness, juxtaposed with the grace and poise of Leela’s Gowri who delicately transitions from her upper-middle class existence to the simplicity of bringing lunch to the fields. This striking shift in roles underscores the core message: companionship transcends the barriers constructed by socioeconomic status.
The gently escalating narrative emphasizes the connections that bind Gowri and Sivan beyond their disparities, but a pivotal twist compels one to confront a stark reality. ‘Jananam 1947, Pranayam Thudarunnu’ is a testament to a director assured in storytelling and imbued with a robust vision. Jayaraj shines in his role, whereas Leela, at times, navigates a delicate balancing act amidst scenes less familiar.
Complementing this exploration into the hearts and homes of its protagonists, Govind Vasantha’s evocative score punctuates the film’s themes. ‘Jananam 1947, Pranayam Thudarunnu’ currently graces theatres, bringing to the forefront an unyielding meditation on companionship, dignity and the irrevocable passage of time set against the rich backdrop of Malayalam cinema.
