LIFE OF LASTING LOVE OR FLEETING LUST

It is tritely quoted that “love is selfless”. If so, can it be said that 'lust is selfish' as a logical corollary of that cliché? "ಕೋಕಿಲ" ('Kokila') is a 1977 Kannada film that explores the impact of casual lust on sacred love. Critics heaped loads of applause on the flick, a romantic drama, which did gangbusters at the box office too. The 'new-wave' movie featured the bold theme of pre-marital sex. It was remade in Malayalam (Oomakkuyi) and Hindi (Aur Ek Prem Kahani).
Kokila (Shoba) is a medical student living with her parents and a housemaid, Chenni (Roja Ramani). Vijayakumar (Kamal Haasan), a shy, reserved bank executive, joins the household as a paying guest. In due course, both Kokila and Vijayakumar get romantically involved.
But then, one night Vijayakumar and Chenni succumb to carnal desires and make love consensually. Despite the indiscretion, both go about their lives normally without divulging the incident to anyone. But, Chenni becomes pregnant. Vijay's flamboyant, extroverted friend, Bhaskar (Mohan) suggests abortion to get out of the bind. 
Does Chenni agree to terminate her pregnancy? What is Kokila's reaction to Vijay's infidelity?
How does Vijay escape the out of the frying pan into the fire situation?
That makes up the rest of the film.
Balu Mahendra has come up with a story that is refreshingly distinct from the overcooked, hackneyed themes of love triangles and romantic imbroglios that have played out a zillion times on celluloid. He has presented a strong, sensitive plot, which develops slowly and a tad too deliberately. Instead of savouring the story-telling, you end up suffering it...a little. Yet, Balu has sensibly kept nudity and crudity at bay while handling sexuality in his directorial debut. 
Veteran actor, Kamal Haasan's acting is commendable, except a few scenes wherein he has overdone stoic shyness by sporting too much of a 'deer-in-the-headlights-like' look. Use of inane tics and twitches to enact mundane moments is unnecessary. He is clearly overshadowed by the naturally brilliant acting of Shoba. Mohan and Roja Ramani have supported well. 
Balu's cinematography is irritatingly dull and drab in a few scenes; often, the lighting is too sombre and shadowy. The background score of the great music director, Salil Chowdhury is soft and soothing. Editing could have been better.
The takeaway: No method exists to either the madness of love or the rashness of lust. Or, perhaps that love is subordinate to sacrifice! 
The film is a GOOD WATCH, no doubt. 
I rate this drama, rather harshly: 7.0 on 10!

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