Bharatam(1991): Musings from a rewatch after almost a decade

Bharatham is a 1991 Indian Malayalam-language musical drama film written by A. K. Lohithadas and directed by Sibi Malayil, starring Mohanlal, Urvashi, Nedumudi Venu, Lakshmi, and Murali. As a successor film from the team of High Highness Abdullah, it had inflicted initial anxious pressure on the team, but it ended up winning 3 National awards and 5 State awards and also a huge box office hit. I just came to know today from an interview by Sibi Malayil that this story was developed roughly two hours after the actual switch-on function of the movie, and Lohithadas was writing scripts each day for the shooting.

“Mattaarekkalum enikariyam ninne, iniyenkilum mathi varuvolam onn potti karanjoode ninak”[‘roughly translated: I understand you more than anyone, at least from now, please cry your heart out ]. When Ramani tells this to a shattered Gopi, he finally finds himself crying peacefully. This simple dialogue is used to convey the deep understanding, care, and forgiveness the edathy has to offer her husband’s younger brother, who explains why he had to keep to himself the news of his brother’s death and cremate his brother’s body without anyone’s knowledge. No loud dramatic dialogues, no heavy-weighted wordplay. Pure empathy and love conveyed through a single piece of dialogue. Master Lohitadas at work! Simple, yet too damn powerful.

This isn’t the first time watching Bharatam, but I’m now utilizing my free time to revisit the films I used to watch with my parents and kid and relive my childhood a little as well as refine my tastes as an adult. Thus I watched it as a kid without knowing it was a classic and as an adult not knowing it was this decorated a movie. What intrigued me most this time was how beautiful the writing of the film is. Much is conveyed in the limited screen time, despite speaking not much. The whole movie plays out quickly before us, yet we are effortlessly in the shoes of the characters.

Urvasi-Mohanlal bond that grows amidst the adversity they pass through will be one of my favorite representations of a couple in love. How the playful duo stands steadfast with each other when they had to go through a heartbreaking turn in their life. I also love how so vulnerable Gopi is amidst all this. The movie comes long before the macho men concept and its horrid stupidity is yet to dawn over Malayalam cinema, I guess. Ah, the sheer adorability of seeing the struggling lead in his plight while his lady love supports him to the core! Mohanlal bagged his first National Award for this movie.

The movie is also from a time when alcohol consumption is actually shown as injurious to health through the movies. The increasing affinity towards alcohol is a concern for his wife Ramani and younger brother Gopi. Despite promising them he is about to quit alcohol, this acclaimed singer is unable to keep his word due to his growing addiction. It’s only tragic that his journey to redemption wasn’t fulfilled as Ramanathan wished for. But alcohol being the sole reason for his downfall is crystal clear. How alcohol can destroy your family is depicted as plain and lucid.

How can I end this article without mentioning the soul of the movie, its music! It’s a musical drama at its core and its classical songs are what’s taking the movie forward. I would’ve stopped watching the movie knowing it’s tragic, but it begins with “Raajamathangi pavani ” which lured me in. Gopangane is one of my favorites. Thus obviously it led me on further. How beautifully it’s placed. It introduces us to the talent of Gopi, tells the love story of Gopi & Devi, and charms us at the same time. The wonderful “Sri Vinayakam” is what brings in the storms for the rest of the movie. Ramakadha Ganalayam is what brought us our KJ Yeshudas National Award for best singer that year. It is masterfully twisted with helplessness, deep melancholy yet resolute to keep the pain at bay. It becomes a heartfelt call to Rama(God), seeking help from a higher abode. The inner plight of an unprepared Bharat, who is now forced to take up the responsibilities due to Ram’s exile rightfully captured.

The touching musical saga ends with Sa…Pa…Saa… taught by Gopi to his nephew, and “Dhwani prasadam” follows. The legacy of devotion to music continuing from one generation to the next. Gopi, aka modern-day Bharatha is taking charge with the responsibility of their kingdom in Rama’s absence.