ECONOMIC DEVELOPMENT: A BOON OR A BANE FOR PEOPLE?

'Economic justice for all' is a lofty tenet enshrined in the Constitution of India. Paraphrasing what someone declared, a vibrant 'economy cannot be built by delivering pizzas to one another'. So then, the State efforts to realise the constitutional promise and egalitarian goals therein often causes injustice to some.

The moot question: Can the larger good and well-being of many adequately justify the hardship and suffering of a few?

"ದ್ವೀಪ" ('dweepa','meaning: 'Island') is a 2002 widely-feted, critically-acclaimed Kannada film. The narrative entails the travails of Nagi (Soundarya), a gutsy lady inhabiting Sita Parvata, a small island on the verge of likely inundation due to the construction of a dam. Most residents of the island accept the government's meagre compensation for loss of property; and, disruption of life and livelihood. While all other displaced natives vacate the area, Nagi, her husband, Ganapa (Avinash) and father-in-law, Duggajja (MV Vasudeva Rao) stay true to their roots and adamantly refuse to leave the island. Their help, Krishna too gets stranded with them on the island in the heavy rains.

So then, does the rising level of the reservoir water submerge the island? Do the incessant rains destroy the lives of the marooned family?

The drama that unfolds on celluloid is an endearing and elevating tale of a strong, resilient lady's grit and gumption. The maestro, Girish Kasarvalli's direction is eminently laudable; he has portrayed brilliantly Nagi's pluck and perseverance in fighting against all odds. Her chutzpah is in sharp contrast to Ganapa's resigned submissiveness to fate and her father-in-law's blind faith in God.

Ironically though, Ganapa attributes her triumph against the fury of the torrential downpour to the Lord Almighty. The metaphorical connect is that despite salvaging her home on the island, Nagi failed to save herself from the island of superstition in her husband's mind.

Ganapa's mistrust of Nagi's fidelity and his suspicions about her illicit liaison with Krishna are unnecessary distractions in the screenplay– that is a fault, if not a flaw, in the story-telling. The dramatisation of Ganapa's withdrawal from Nagi's society is a painful digression from the engaging story of a displaced family' struggle against the powerful state and an intrepid lady's efforts to save her home from an impending catastrophe.

The entire cast is exceptional in the portrayal of their respective roles. Avinash is intense in his acting as the doubting, sexist husband. Veteran Vasudeva Rao is effortless in his role. However, Soundarya is the standout performer by far; her rendition will be etched in people's minds for a long time.

Technically the plot develops at a snail's pace initially; but, HM Ramachandra Halkere's cinematography more than makes amends for the drudgery, courtesy: screenplay and editing. The music and editing are not extraordinary enough to warrant a mention.

The movie is most definitely A GREAT WATCH!!

I rate it: 8.5 on 10!