Bala breaks quite a few idols. Divine as well as the celluloid ones.
“Picha edukurathukku intha vesham thaan kedachutha?” he (one of his characters) asks those dressed up as tamil cine actors.
Hard hitting.
The gods are ridiculed, abused and exposed. It was a masterstroke of Bala to let us focus on the god man up the hill who ‘never speaks or opens his eyes’. And let him declare finally ‘naan sami illai’ . That’s when the viewer should have been made to realise “Aham Brahmasmi” (Nan kadavul). And the personification of aham , is the protoganist of this movie-who can decide one’s fate in this and the next incarnation.
Yes. The body in this world and the soul for ever can be liberated. (Where is Nair’s body? BTW )
Realise the truth (Aham Brahmasmi)
Get yourself liberated in this and subsequent births .
Return to your guru.
The synopsis is illustrated in a wider canvas. Hindi, Tamil ,Malayalam speaking characters expose the pan Indian market where citizens are traded as commodities.
Like the physical deformities of the characters , quite a few populate the movie too. The compromises catering to a wider audience conditioned by the song and dance sequences of tamil cinema for example. Like a mainstream magazine running a story on *orn literature with illustrative excerpts , Bala introduces the same sequences that he wishes to ridicule.
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