GOODNESS IN YOU BREEDS GOODNESS IN OTHERS

Many have extolled goodness as a virtue. The American writer, Emerson said: ‘Wisdom has its root in goodness’. His compatriot, Thoreau wrote: ‘Goodness is the only investment that never fails.’ Russian writer, Leo Tolstoy even declared: ‘There is no greatness where there is no simplicity, goodness and truth.’

“ಭುಜಂಗಯ್ಯನ ದಶಾವತಾರ” (‘Bhujangayyana Dashavatara’, which means: ‘(The) Ten Avatars of Bhujangayya’) is a 1988 Kannada film that delves into the repercussions of altruism in a modern, materialistic society. Based on the magnum opus of novelist, Srikrishna Alanahalli, the social drama won a bushel and a peck of awards for its actors, writer and director

Bhujangayya (Lokesh) is a genuine do-gooder in his village, which, unfortunately, is reeling from an acute famine. The incessant failure of the monsoon for several years has alienated him from his ancestral profession of farming. So, he flits like a butterfly from venture to venture for earning a livelihood.

Bhujangayya’s magnanimity is bountiful; and, his energy levels boundless. He gives up his precious ring to clear the debt of a down-trodden, marginal fellow villager― a good deed that gets him an earful from his swearing, shrewish wife, Parvathi (Girija Lokesh). He pledges his jewels to set up an eatery in the village and stages a charity show for raising funds to feed the poor. He even intervenes to prevent the local landlord from punishing his son for adultery.

Despite being traditional, Bhujangayya is skeptical about superstitious rituals for rainmaking. Yet, for propitiating the rain Gods, he finances a ritual, which also gets him flak from Parvathi.

Once libidinous menfolk attempt to sexually exploit a nomadic bangle-seller’s orphaned daughter, Susheela, or, Sushi for short (Pallavi Joshi). The benevolent fella agrees to give the destitute girl shelter. But, it proves to be the last straw that breaks the camel’s back. Suspecting an illicit dalliance between the two, Parvathi withdraws from Bhujangayya’s companionship.

Falsely accused of adultery, Bhujangayya and Sushi get married and consummate their relationship. Sushi stays loyal to Bhujangayya through thick and thin― in due course, Bhujangayya decides to dig a well on his plot for solving the water scarcity in the village.

Does Parvathi reunite with Bhujangayya and Sushi? With family life resurrected, do they all live happily ever after?

That is the rest of the drama.

Director Lokesh, who is also credited with the flick’s script and screenplay, has created a film that not only entertains the viewer, but also keeps her intrigued. He teases, taunts and tempts with a sublime smorgasbord of situations in his screenplay, but not to the extent of annoying with soap-opera-like melodrama. Lokesh regales the audience with his dialogues too.

Veteran Hamsalekha’s score is alright; it matches the mood and milieu of the settings in the film. Ashok S Ramachandra and Suresh Urs have done fine jobs respectively with the camera and the editorial cuts.

On the acting front, Lokesh is BRILLIANT as the male protagonist. Pallavi Joshi too is EXCEPTIONAL; she adds oodles to the oomph-factor even in her village belle role, not to mention the minimalistic, rural attire. The rock-star is surely Girija Lokesh, who is OUTSTANDING with her rendition of a loquacious, dominant dragon lady. The rest of the supporting cast, comprising of Vadiraj, GV Sharada et al, has put in adequate performances.

The real winner though is Srikrishna Alanahalli. The portrayal of a kaleidoscope of human emotions― lust, envy, revenge and naivety, on one hand; love, empathy, kindness and compassion, on the other― in the narrative is testament to Alanahalli’s creative genius. 

The movie is a poignant tale of a man, who not only stays upbeat despite setbacks in life, but also dares destiny to pursue his dreams. The moral, as someone said, is to never allow a bad person change one’s inner goodness.

I rate this social/domestic drama: 7.5 on 10!