It was not received very enthusiastically when it was released first. But once the national awards were announced, it was well-received and widely seen. It was the Malayalam film that received the National Award after Chemmeen. But Swayamvaram bagged several National awards, including best film, direction, cinematography etc. No other film had received so many national awards before that.
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I feel that the film takes some missteps when it comes to the behaviour of the characters, particularly in the climactic scene where Unnikrishnan and Asha resolve their dispute, which felt somewhat sudden and thus a little too theatrical.
I felt there was something lacking in the way the “relationship” between the professor and Asha was built, particularly with regards to the professor’s personality and character.
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അയ്യപ്പന്റെ തിരോധാനത്തെക്കുറിച്ച് അന്വേഷിക്കുന്ന ഈരാളി എന്ന പൊലീസ് ഉദ്യോഗസ്ഥന്റെ ബുദ്ധികൂര്മ്മത ചിത്രത്തെ ആദിമദ്യാന്തം ഉദ്വേഗജനകമാക്കുന്നു. കുറ്റവാളിയെ കണ്ടെത്താന് ഈരാളി സഞ്ചരിക്കുന്ന വഴികള് പൊലീസ് അന്വേഷണത്തിന്റെ കാണാപ്പുറങ്ങള് അനാവരണം ചെയ്തു. കഥയുടെ പശ്ചാത്തലത്തിലെ സൂക്ഷ്മതകള് പോലും ചോര്ന്നുപോകാതെ ചിത്രം പകര്ത്തിയെടുക്കാന് കെ ജി ജോര്ജിനു കഴിഞ്ഞു.
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Adoor is a gentle poet in the tradition of Tagore and Satyajit Ray and his vision is of oriental, Indian and Keralite vintage. In the movements of the environment most intimately known to him he hears and captures the pulsation of universal life.
He is sensitive, compassionate, humane, artistic. Adoor’s film holds a mirror to nature.
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Paradoxically, the film was screened only twice and its print is still untraceable. For a film like that, which was seen only by a few, there is every chance of it being relegated to oblivion. But in the case of ‘Njatadi’ it was not so. On September 24, after 30 years, the group of then youngsters who made that film possible got together to refresh their memories.
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‘Njattadi’ was the result of hard work by a group of youngsters who believed films could change society. K.N. Sreenivasan, Bharat Gopi, P.N. Vishwanathan, T.K. Kochu Narayanan, Bharat Murali etc. had taken on the mantle of producer, director, scriptwriter and actor. Many of them had to play more than one role. Kochu Narayanan was the scriptwriter and producer.
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Brooding intensity is sometimes an overrated quality in actors, but Puri’s performances as the mute victim of caste discrimination in Aakrosh and as the introspecting policeman in Ardh Satya are outstanding. As Madhav, a sincere man who begins to despair of the moral ambiguities he finds himself facing, he dominates Aghaat, which is some achievement considering the many acting heavyweights on view here. (The Malayali actor Bharath Gopi, as the menacing Krishnan, is another standout.)
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Thampu does not have a storyline as such; instead, it attracts the viewer with a succession of true-to-life images strung together by Aravindan’s unique poetics and his cinematographer Shaji Karun’s extraordinary visual flair. The film abounds in passages, long and short, that stick to the mind tenaciously.
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I had the good fortune to watch Gopy perform on stage. I was a young girl then, and yet the performance was mesmerising. He was not a professional actor then; his love was stage and he associated himself with the great stage directors like C N Sreekantan Nair, Kavalam Narayana Paniker and G Sankara Pillai. When filmgoers were ready to slot him as an art film actor, he started appearing in commercial films too. He eclipsed even a handsome actor like Mammootty in K.G.George’s Yavanika.
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Bharat Gopy has fond memories of the film. The moustache that my character, Ayyappan, sported was real. George made me pose for still photographs in the costumes of Ayyappan and that was it. The entire shoot was in the suburbs of Thiruvananthapuram (Vattiyoorkavu).
The theatre, the house to which I bring Jalaja, were all located nearby. If my memory serves me right, the name of the studio was ‘Sreekrishna Studio.’
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Mani Kaul, celebrated film maker interviewed Bharat Gopy in 1979 for the Times of India, immediately after his winning the National Award for the Best Actor. Read the full interview here.
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