THE DANCE OF DESTINY IN HUMAN LIVES AND RELATIONSHIPS

The roots, not branches, are a tree's greatest strength. So too the ancestral roots of every family, some may argue. The American philosopher, Emerson even went on to claim, rightly so, 'thought' is the 'ancestor of every action'. 

“ವಂಶ ವೃಕ್ಷ” (Vamsha Vriksha, meaning “Genealogical Tree”), is a 1972 National Film Award winning Kannada film, which explores how ancestry plays a role in familial life...and, thought too, as the precursor to action, shaping who we are and determining what we do. The flick explores actions that are often deemed taboo and the contours of societal relationships. Perpetual human desire to seek marital bliss and material pleasure is put under the scanner.

Based on the literary giant, S. L. Bhyrappa's novel of the same name, the movie is set in the 1920s. Kathyayani (LV Sharada), a widow living with her in-laws along with her four-year old son, decides to pursue her undergraduate studies. Kathyayani's father-in-law and erudite scholar, Srinivasa Shrothri (Venkata Rao Talegiri) has conservative views on familial honour and lineal reputation. Yet, he supports Kathyayani's decision.

At the university, she meets two academically accomplished brothers, Sadashiva Rao and Raja Rao (Girish Karnad)– the former is a historian who's compiling a five-volume treatise on the cultural history of India along with his sharp as a tack doctoral student and research assistant, Karunaratne; the latter is an England-returned professor of Shakespearean drama.

Despite being married, Sadashiva gets entangled in a bigamous alliance with Karunaratne, which devastates his first wife. Raja and Kathyayani too get emotionally involved with each other and contemplate wedlock. Reluctant to bring disrepute to her marital home, Kathyayani initially hesitates to remarry. But later, yielding to carnal pleasures, she severs her familial ties and abandons her son. Thus, Kathyayani and Sadashiva's decisions are mirror images– both break, desert and jeopardise existing familial ties in pursuit of felicity through marital bonds. Which side of the gender divide is to blame for their self-centered thoughts and actions? And, do they find joy and bliss?

This classic Kannada film showcases intense interplay of orthodox values and liberal views. It challenges widespread conceptions about widow remarriage, extra-marital affairs and bigamy in a paternalistic community. The relevance of fatherhood in tracing ancestral lineage too gets focus.

The engrossing narrative perhaps attempts to question norms and notions about vices and virtues; victors and victims; winners and losers in the zero-sum concept called 'human relationships' and the ironies therein. It blurs the lines between the exploiter and the exploited. The contrasting tale deals with emotional polarities– of the selfless and the selfish; of greed and grace; and, in general, about human faults, frailties and failings.

Direction and screenplay of BV Karanth & Girish Karnad are impeccable. Venkata Rao Talegiri and LV Sharada are outstanding in their roles. Girish Karnad's acting is a bit hackneyed and disappointing. The technical aspects of the movie fail to leave a mark. The editing is agonizingly sluggish at places, in my view, which is notwithstanding its widespread recognition for editing excellence.

Bottom-line: Vamsha Vriksha is a true treasure!

The true winner though is SL Bhyrappa's novel...a MAGNUM OPUS!

I rate the movie: 8.5 on 10!