A CLASSIC DRAMA OF ROMANCE AND POLITICAL INTRIGUE

The American actor, Willem Dafoe is quoted as saying that great theatre is about “challenging how we think and encouraging us to fantasize about a world we aspire to.” The ancient Sanskrit playwright, Śūdraka surely had some such aspirational ideal in mind– perhaps of the proletariat overthrowing despotic rulers and oppressive regimes– while penning his rivetingly absorbing play, Mṛcchakaṭika. Some academics though believe Śūdraka just finished Bhāsa's incomplete, fragmented drama, Vasantasensa.

"ವಸಂತಸೇನ" ('Vasantasena'), is a 1941 Kannada movie, a timeless, priceless classic based on Śūdraka's literary masterwork. Set in the ancient city of Ujjayini in the fifth century BCE during the reign of King Pālaka, the plot features the male protagonist, Cārudatta (Subbaiah Naidu), a young, penurious man. An affluent courtesan, Vasantasenā (Lakshmi Bai) sweeps Cārudatta off his feet during a chance run-in. The attraction is reciprocal.

But, Shakara (R Nagendra Rao), a nobleman too finds Vasantasenā bewitchingly beautiful. The infatuation makes Shakara envious of Cārudatta. On top, there is a insurgency movement gathering momentum against tyrannical rule of the king.

So then, does the mutual affinity between Cārudatta and Vasantasenā blossom into love or fizzle out lamely? Does Shakara manage to scuttle their love? Will the revolt succeed?

Thus, the stage is set for an engrossing plot, which fuses together sub-plots of lust, envy, greed, love, comedy and revenge seamlessly. The sub-plot of political intrigue imbues magic into the narrative, the creative credit for which is entirely that of the playwright.

Director Ramayyar Shirur gives you the impression of watching theatre on celluloid. Not surprising since the medium of motion picture was nascent at that time. The sets and costumes are elaborate. The film though is too long...so, the slow pace is excruciatingly painful. The background score is strongly rooted in carnatic classical music. While it may be technically inferior, the melody and harmony is undeniable. The camerawork is amateurish.

The dramatis personae, all theatre veterans of the time, have fared well in the acting sphere. The standout rendition is that of the thespian, R Nagendra Rao. P Kalinga Rao too has a minor role; he has also composed tunes for a few songs in the film.

The true winner of the film is Śūdraka, who used fiction, and not mythology, for his story. A pioneer, he departed from Nātya Śāstra traditions and stereotypes by using mundane characters like thieves, courtesans, etc., for his drama.

I rate this flick: 7.0 on 10!