by whatsonsidsmind

The Unforgettable Woman | Pankaj Giri | Book Review

Written by Siddhartha Krishnan | 3 Min Read

As a new author breaking into the literary scene, one of the biggest challenges is to find your voice. Most of our writing is birthed out of what we have consumed as human beings. We are after all a product of our experiences. While as writers we try to be as original and honest as possible, we tend to subconsciously mimic what we have been influenced by, which may not be other writers necessarily. It could just be ordinary people we have met. This is not a bad thing. Imagination is a great quality but so is observation.

Neil Gaiman, in one of his lessons to young writers presses on the need to be brutally honest. But I’ve also heard him say that it’s okay to sound like writers who have influenced you. It often starts like that. He further says, “Let the bad words out, and the good ones will follow”. Eventually, he reckons, “You will find your voice”. This means that finding your voice is a journey.

Having read Pankaj Giri’s critically acclaimed earlier work, ‘The Fragile Thread of Hope’, I think it’s safe to assume that this is a new Indian author who is pursuing that journey. While his latest novel, ‘The Unforgettable Woman’ is a quicker read and departs from his earlier novel in more ways than one, Pankaj does stick to things that make his writing engaging.

Here, he chooses fictional towns in Sikkim to tell his story and explores the themes of love, regret, and forgiveness while touching upon several social issues. The two central characters in the novel are seemingly leading uneventful lives until ghosts of their past come to haunt them. It’s not that such themes have not been explored by Indian authors before. But here are some of my observations that set this author apart from other new Indian authors writing in this genre.

Character development – Just like in his previous novel, here too, the author chooses to dedicate each chapter to a character. He also chooses to journey between the past and present thereby creating a sprawling narrative. An improvement from his earlier novel that I noticed is how he has added several layers to his characters thereby making them more relatable. Whether you agree with them or not is a different discussion, but they aren’t black or white. There is sufficient conflict in the story to keep the reader invested.

Worldbuilding – This is perhaps the author’s biggest strength; his understanding of the culture that he was born into. To write a story rooted in culture is easier said than done. The devil is in the details, and it takes tremendous observation skills to make it authentic. The author has managed to bring to life not just the landscapes of Sikkim but also the mindscapes of its people in a fictional setting. The ability to understand what is unique to the world you have built is imperative to make it believable.

Dialogues – As new writers, we often falter in writing conversations. Effective dialogue writing does require technical prowess. It also comes with practice. I liked how the author through dialogue has been able to unravel the layers of his characters, their mindset, their beliefs, their flaws, and their courage. I liked also how he builds up tension through dialogue thus lending cinematic quality to the narrative.

Vivid Imagery – Often the trap that new writers fall into is to fill sentences with adjectives in a bid to make the narrative vivid. The reader ends up with a verbose prose that can cause an eye sore. In this novel, the language is simple, free-flowing, and effective. It also benefits from good editing. The words woven have been able to create the required imagery in the mind of the reader.

To conclude Pankaj Giri’s ‘The Unforgettable Woman’ is an effective novel that has well-etched characters and tackles important social issues. The book is evocative when it needs to be and the writing has cinematic quality. In case you are looking for a well-written book by an Indian author, give this one a go.

The book is available on Amazon. Link below –

Amazon – The Unforgettable Woman

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About the author –

Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. He is also an enthusiastic blogger, and on his blog (www.whatsonsidsmind.com), he puts out his articles, essays, travelogues, book recommendations, and film reviews.

by whatsonsidsmind

Kaathal – The Core | Movie Review | An Empathetic Film that Lacks Realism and Still Shines

Written by: Siddhartha Krishnan | 5 Min Read

Jeo Baby’s filmography, thus far, makes it amply clear that his films are issue-based. However, they are also characterized by a delicate balance between storytelling and visual aesthetics with a keen eye for detail. For instance, in ‘The Great Indian Kitchen’ the camera was not just a visual accompaniment but a storyteller in itself. A fly on the wall in the kitchen of a middle-class Malayali household, capturing the horror, and angst that only a neutral onlooker can see. In ‘Kaathal’, he chooses a different kind of visual grammar to suit the film’s tonality. Here, there is a certain calmness about things; the pace is unhurried with considerable use of slow-motion and long takes, to give the scenes a somber, poetic touch.

Although the director and his writers, continue to navigate the complexities of societal norms, throwing light on the human state against social constructs, ‘Kaathal’, is more accepting in its narrative, compared to ‘The Great Indian Kitchen’. While there is conflict, it does not ever get to a point where the conversations turn toxic. This is true for all of the characters. Thus, one can ask if realism was sacrificed, that too, in a socio-political film at the altar of empathy. If yes, why?

Was it because a superstar was playing the lead? Maybe.

The counterargument can be that a superstar is a more appropriate vehicle to get the film’s message across to a wider audience. This film does have an urgent message that it conveys with clarity, that too with minimal dialogues, in the classic Jeo Baby style of more show than tell.

‘Kaathal’ benefits greatly from its layered storytelling and well-etched-out characters. For example, all facets of the lead character, Mathew, as a father, husband, son, a candidate standing for local body elections, and a gay man fearful to confront his truth, have been explored. So, is the case with Omana, Mathew’s wife. She quietly goes about fulfilling all her responsibilities, as a mother, and a daughter-in-law, without letting the strain of her relationship with her husband come in the way of them. But she is strong enough to not accept the way her husband has treated her, and files for divorce. She does so also to rid Mathew of his misery.

The scenes of ‘Kaathal’ have been written with care. Despite, the absence of a clear backstory we can visualize what might have led to the circumstances the characters find themselves in. The courtroom sequences for a change are not loud. They have been written to give the audiences a background of such cases in the past, the complexities of the issue at hand, and with a clear intent to not give ready answers. The confrontation scenes between Mathew and his father, Mathew and his daughter, and Mathew and Omana are highlights of the film unraveling the poignant truths of these characters.

None of the actors are there in the film without having contributed to the story. The performances are the film’s strongest point. Restrained, subtle, and still powerful. What the film lacks in realism, it makes up with convincing performances. Even the side actors have done a fabulous job. Malayalam cinema is blessed to have such actors to choose from. They always have; a fact alluded to by director S.S. Rajamouli in a recent interview.

Kaathal, however, rests firmly on the shoulders of its lead characters. Mathew, played by an excellent Mammootty, and Omana, played by an assured Jyothika. Even their silences speak volumes. While Jyothika’s eyes convey the bottled-up frustration of 18 years; when she finally speaks up, her speech is measured and mature. She doesn’t want to destroy; she wants to liberate.

Mammootty plays the gay man who has suddenly been forced to face his truth. Stifled, he has no choice but to be a silent, helpless spectator to the cocky insults and pointless advice of his friends, relatives, and colleagues. Without much dialogue just through his eyes and subtle expressions, he conveys so much.

At 72, Mamootty, the actor, Malayalam superstar, three-time national award winner, and father of heartthrob Dulquer Salmaan seems to have abandoned all fear. Just look at his choice of films over the last two years. They seem to be a testament to his state of mind. In the neo-noir film, ‘Rorschach’ he plays the wicked NRI businessman, Luke, who lands one fine day in the forests of Chalakudy in search of his wife, who goes missing after an accident. In LJP’s, ‘Nanpakal Nerathu Mayakkam’, he plays James, who wakes up from a siesta on a bus believing that he is Sundaram, walking nonchalantly into a tiny village in Tamil Nadu, where he thinks he belongs. In the psychological drama, ‘Puzhu’, he plays Kuttan, a high-ranking IPS officer and widower, a bigot, who cannot stomach the fact that his sister has married a man from the lower caste. In ‘Kaathal – The Core’, he plays Mathew, a gay man contesting local village body elections, when he is confronted by his wife, who has filed for divorce, thereby forcing him to accept his reality.

It’s not that Mammootty’s filmography did not have diversity earlier. But his choices of late have been bold, which his contemporaries across industries, have not shown enough. That he is a great actor, is known to all, but now there is a languid elegance about his performances. A trait that Malayalis, have associated with his contemporary, Mohanlal, whom many consider the more gifted of the two. While Mohanlal’s choices in recent times have not done justice to the actor in him, barring a ‘Dhrishyam’, Mammootty’s choices have been stellar. ‘Kaathal – The Core’, is a risky choice for a superstar, for there is so much to lose. But he delivers one the finest performances of his career. He also ensures that a film with an important message reaches a larger audience. In many ways, in the era of new-age experimental cinema, ‘Kaathal’ has invoked the golden era of Malayalam films (80s and 90s) when it was simple, thought-provoking, and enjoyable.

IMDb rating – 7.8/10

My rating – 4/5

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About the author –

Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. He is also an enthusiastic blogger, and on his blog (www.whatsonsidsmind.com), he puts out his articles, essays, travelogues, book recommendations, and film reviews.

by whatsonsidsmind

Animal Movie Review – A High-Octane Mass Entertainer that was Pretending to be Something Else

Written by: Siddhartha Krishnan | 5-Min Read

Full disclosure first:

  1. I am a fan of Ranbir Kapoor’s acting. I think he is one of the finest actors in India, whose full range is yet to be discovered.
  2. I believe that films should be made on all sorts of subjects and all kinds of characters. Characters that are good, amiable, virtuous, docile or flawed, misogynistic, dark, vile, and ‘animalistic’. Let the audience decide what they want to watch. Making films only about righteous, virtuous characters does not make the world any safer. Films in the end are meant for entertainment. They alone cannot be held responsible for spreading toxicity. What about upbringing, education, culture, and beliefs?
  3. I went in with high expectations for ‘Animal’ because the trailer suggested a character study of a man whose descent into madness is due to a toxic relationship he has with his father; a relationship apparently ‘carved in blood’. It gave me vibes of several gems in this genre, like ‘Taxi Driver’ and more recently ‘Joker’.
  4. What also piqued my interest was the director almost threatening his audience, in pre-release interviews, with violence that has never been seen on Indian screens, almost hinting at a genre that Indian directors have not dared – slasher/blood porn. A well-established genre in world cinema with films like ‘I Saw the Devil’ (South Korea), ‘Irreversible’ (France), ‘Goodnight Mommy’ (Austrian), and ‘Saw’ (USA) to name only a few.

What did we get? Here is my review.

Warning – in places this review might metamorphose into a rant that might be toxic for some. (Minor spoiler alert)

      The Bad

  1. The Promise of Violence …

A scene from ‘Animal’

It is one thing to make a promise, and another to keep it. Director Sandeep Reddy Vanga wasn’t even promising, he was threatening the audience with such violence that would make the squeamish pee in their pants. What did we get?

Masked men in their hundreds slashed and swatted like mosquitoes with an axe by a flawed hero in a ketchup party. Thereafter, he unleashes an other-worldly killing machine, apparently ‘Made in India’, with which he makes the remaining thousand mosquitoes fly in all directions, and a paintball party ensues where the so-called gore is hidden within clouds of smoke and balls of fire. What’s more, he has a small army with him, whose job is to sing while he plays ‘Call of Duty’ all alone in a five-star hotel, in a city, where law enforcement doesn’t exist.

See, I am all for suspending disbelief and leaving my brain at home. But the director was asking me to convince myself that my brain was my ‘d&#k’. How do I do that? By the way, ‘Call of Duty’, the video game played by 10-year-olds has more realistic violence than this comical slash fest, and that has me worried.

The one thing that this pre-interval scene does get correct is syncing the action to the beat. No mean task that requires technical prowess, and credit to action director, Supreme Sundar for achieving this. Also, Ranbir pulls off the outlandish fight scene with conviction and swagger single-handedly.

In the action sequences, you do see the influence of Korean and Thai films. But where the director has lacked, is in the writing. It had no vision, novelty or eye for detail, and it was not too distant from the action scenes already seen in South Films. In terms of shock value, cringe worthiness, and pure impact films like ‘NH7’, ‘Gangs of Wasseypur’, and ‘Badlapur’, have done a far better job.

Given the hype around the violence, I was worried that some scenes might be unsettling for my wife, who doesn’t like this kind of cinema. But in the end, we laughed through those scenes for being so outlandish. If that is what the director was aiming for, kudos to him.

  1. The Promise of a Character Study …

A scene from ‘Animal’

The trailer of ‘Animal’ suggested that it was going to explore toxic masculinity through the lens of not only physical violence, but also, mental, verbal, and sexual violence. The proposition, therefore, was new for Indian cinema because the lead character’s arc no matter how filthy or vile, had the potential to be nuanced, as well as stark. What did we get?

A constant barrage of vile, disconnected, and rhetorical – dialogues, monologues, anecdotes, and stories intended only to provoke and not to make audiences detest or connect with the lead character. Let’s take an example to make this point clearer – In the ‘Joker’ when Arthur (Joaquin Phoenix) brutally murders his friend Randall at his house, I remember some within the audience cringed and others were shocked. The ones who cringed detested the transformation of an abused man from naivety to becoming a criminal. The ones who were shocked empathized with Arthur but did not agree with the methods of the ‘Joker’ he had become. Either way, a connection with the audience had been established. This is a result of great writing.

I could not connect at any level with the Animal’s ‘Ranvijay’. The reason for his toxicity is never clearly established. We know, it’s because of his father, but how, when, where, and why is either left to the imagination or lost in translation. So when he is violent verbally, physically, or sexually through action or dialogue the reaction from the audience is laughter. Laughter at being toxic? If that was the reaction the director was trying to evoke, kudos to him.

A scene from ‘Animal’

If this was truly a character study, the toxicity would have spoken to the animal/darkness within all of us. Silence would most certainly have been the natural response to that conversation. Instead, there were giggles and chuckles instigated by the sarcasm in the dialogues. So what was the director trying to make – a satire?

Here’s my take on this aspect – Please get at your naysayers, silence your haters, and flaunt your ideology, if you must. But your politics cannot hijack the story and cheat the audience who bought a ticket to watch your film.

  1. The Promise of Originality …

Telegu superstar, Mahesh Babu in a promotional event before thousands of fans called Sandeep Reddy Vanga an original filmmaker. The hype was epic suggesting that we are going to see something not imagined in our wildest dreams. What did we get?

A son, on a rampage to kill those who tried assassinating his father. Is that new? Okay, is there newness in the violent action scenes then?

In all, we get three action scenes –

First, a desi version of the ‘hallway fight’ scene from ‘Oldboy’. Then, a sanitized, fabulist, fantasy version of the ending carnage scene from Rambo (2008). Finally, a full-on ‘Punjabi hand-to-hand Kushti scene’ with an emotional song in the background.

So much for originality.

A scene from ‘Oldboy’

‘Animal’ is most original in its last 15 minutes when it stays true to the subject at hand; the so-called father-son relationship ‘carved in blood’. Here, the conversation elevates from superficiality to being meaningful.

As for the blood and gore, the film is bloodiest in the post-credit scene, promising a second part, thereby making the entire film look like a promo for the sequel.

The editing of ‘Animal’ is jarring. The director chooses a non-linear narrative that lacks cohesion. It seems like several films within the same film. Moreover, the second half is a stretch. Some say it could have been 20 minutes shorter. However, to me, the 2nd half felt like a different film altogether, until the climax.

The Good

  1. The Music –

Animal’s songs and background score are its big USP. While some of the songs seemed unnecessary for the moments, they still are good songs. The BGM elevates the scenes considerably and is apt throughout the run-time.

  1. The Screenplay (in parts) –

Despite the disjoint writing, the screenplay is entertaining in parts. These moments show what the film could have been. Also, some of the twists were intelligently placed.

  1. The Performances –

A scene from ‘Animal’

The film’s strength is its stellar cast. All the actors have done fine a job. Anil Kapoor does his best to give a nuanced performance, but it’s only in the end that his character is given the space and time to shine. Rashmika is best when she confronts Ranbir’s character and despite apprehensions, she too delivers a decent performance. Bobby Deol is grossly underutilized to the point that I am now thinking what was the point of that 6-minute cameo? However, he shines in the little that he has to offer. The problem is that the motivations of these characters are not fully explored despite the film’s long run-time.

However, make no mistake, this is an out-an-out Ranbir Kapoor show. And despite all the flaws in the writing, he still manages to keep the eyes glued to him. If anyone could have played this role with conviction it was him. He was ‘Animal’ from start to finish.

A scene from ‘Animal’

Conclusion:

I wanted to like this film. But I guess the director was more interested in provoking his haters than making a good film. If I am a true cinephile, there is no way I can call this a good film. This might offend some and please a few. So be it.

That said, all the awards for the best cut trailer should go to ‘Animal’. The makers were able to make the audience believe what the film was not.

My Verdict:

‘Animal’ is a high-octane, mass entertainer that pretends to be brave and intelligent as well. It is engaging in parts, mainly due to its lead actor and a great cast, but it explores toxic masculinity and abuse with the maturity of a fifth grader who has recently discovered the meaning of the words power, sex, abuse, and violence. It will rake in the moolah, given the hype, but I don’t think it’s a film that is going to age well.

IMDb rating – 7.5/10

My rating – 2/5

About the author –

Siddhartha Krishnan is the author of “Two and a Half Rainbows – A Collection of Short Stories”. He is also an enthusiastic blogger and, on his website, http://www.whatsonsidsmind.com, he puts out his essays, articles, travelogues and film reviews.

by whatsonsidsmind

Understanding the Cinema of Martin Scorsese through Killers of the Flower Moon

A scene from Killers of the Flower Moon

Written by: Siddhartha Krishnan | 7 Min Read

“I always tell the younger filmmakers and students: Do it like the painters used to…Study the old masters. Enrich your palette. Expand the canvas. There’s always so much more to learn” – Martin Scorsese

I opted for a 10 pm show of the Killers of the Flower Moon, a day after its release in India. Must admit that I was wary to begin with since I had little idea of the subject at hand. Moreover, with a run time of 3 1/2 hours, the filmmaker was demanding my patience. Something, Scorsese has been known to do off late. The Irishman is a case in point. The older he has gotten the more fearless he has become.

Having said that, as an audience thrown into an alien world, where things were moving at the pace of a tractor through the prairies, things weren’t exactly thrilling at first. More so, with my eyes getting heavier with every passing minute. It took a while to realize, that the pace was deliberate. A kind of ‘slow poison’, that is intended to kill your ignorance, and your apathy. (I’ll get to this point later in this article)

Scorsese with his actors

Given the violent themes that Scorsese picks, I was introduced to his films quite late. Well into my adulthood to be precise. Thereafter, I’ve seen most of his films. Halfway into Killers, a question sprouted in my mind—does Martin Scorsese have a signature style? I ask because I don’t see that style as clearly as I would in a Quentin Tarantino or Christopher Nolan film.

Let me rephrase for specificity—what is similar between Taxi Driver and The King of Comedy, Hugo and Raging Bull, The Wolf of Wall Street, and Killers of the Flower Moon, that tells me that this is a Martin Scorsese film.

The question compelled me to dig a bit deeper, and the findings were fascinating. I’ll be sharing what I discovered in light of the director’s latest offering.

Based on journalist David Grann’s best-selling non-fiction book ‘Killers of the Flower Moon: The Osage Murders and the Birth of the FBI’ the film tells the gruesome story of the Osage Murders from the perspective of the Osage people. The genocide of the indigenous people of America is a fact known to all. How it happened is the USA’s best-kept secret.

The film opens with a group of Osage elderly burying a ceremonial pipe mourning their gradual assimilation into white society after American lawmakers move them from Kansas to Oklahoma, into a reserved area. But soon their sorrow turns into joy when they discover oil in their allotted land, making them instantly rich. But this newfound wealth invites the greed of white people, some of whom work for the Osage and some others who have foul motives.

Deputy Sheriff, William King Hale, popularly known as ‘King’, played by Robert Di Niro is one such fox. He poses as a benefactor but means the tribe no good; secretly planning the murders of the Osage members to inherit their wealth by getting his trusted men to marry into their families. This is when Ernest Burkhart, a World War I returnee, played by Leonardo Di Caprio comes into the scene. The first conversation between King and Ernest is where Scorsese’s most striking characteristic as a filmmaker comes to the fore.

  1. Character Study –

In the scene, King tries to understand how desperate Ernest is to get rich, and what his weaknesses are. We get an understanding of Leo’s character; that he is greedy and gullible. The conversation sets the tone for the film. Much like the opening scene of Taxi Driver, ‘the interview scene’, where De Niro’s character is applying for the job of a taxi driver. There too, the interview helps strike a contract with the audience.

A scene from Killers of the Flower Moon

You see such conversations throughout Killers, especially between the three main characters, King, Ernest, and Mollie. ‘Mollie Kyle’ (played by an excellent Lily Gladstone) is an Osage member whom Ernest marries on the advice of King. We know as an audience that their relationship is doomed, but that is what makes the scenes between Mollie and Ernest the most captivating. In the beginning, Mollie is suspicious of Ernest, but once she gives in, she becomes a slave to her love for him. Ernest on the other hand, is a slave to his greed. His greed is more powerful than the love he has for Mollie. The portrayal of this relationship is the highlight of the film.

You find parallels in The Wolf of Wall Street where Leo and Margot’s characters try to get into each other’s minds in the infamous dinner date scene. Although the characters are vastly different from the Killers of the Flower Moon, the similarity is how Scorsese finds cinematic value in simple conversations to reveal the qualities of his characters.

A scene from The Wolf of Wall Street

The director is not interested in demonizing or glorifying his characters. He is keener to show their motivations no matter how flawed they are. Exploring the things that make them human. He likes unraveling the layers of his characters through conversations, monologues, and voiceovers; anything that has cinematic value.

  1. Frequent collaborations with actors –

Robert Di Niro in Raging Bull

Given that his films study their characters deeply, Scorsese expects his actors to be in top form. He prefers actors with the requisite skills whom he can trust. Which explains his frequent collaborations with Robert Di Niro and Leonardo Di Caprio. Di Niro has featured in ten Scorsese films since 1973 (Mean Streets) and Caprio has been part of six. Both are part of his latest offering.

  1. Violent themes –

Growing up in an Italian neighborhood in the 40s and 50s New York, Scorsese had seen violence up close. He saw how it became a part of the daily life of people. Thus, violence is an important part of most of his films. As a filmmaker by choosing characters who are always on the edge, he gives himself a lot to play with and explore. However, he doesn’t stick to a certain style to show violence. In Gangs of New York and Goodfellas, the violence is brutal. In Killers, while the act of committing murders is violent, death has a certain calmness about it. Let’s take a scene from the film –

A scene from Goodfellas

When Mollie’s sister’s house is bombed; chaos ensues. People dig through the rubble frantically to find the bodies. But when the sister’s body is found Scorsese infuses fantasy into the screenplay by using the elements; in this case fire. The faces of the dead are calm in Killers. All of them. You find parallels to this scene in Scorsese’s 2010 psychological thriller Shutter Island, where he uses surrealism to evoke gloom.

According to Thelma Schoonmaker, his editor since the 1980s, he shows violence differently now compared to his earlier films. Moving from tight close ups (Goodfellas, Raging Bull) to wide shots (The Irishman, Killers of the Flower Moon). This might be a result of Scorsese evolving as a human being. His understanding of violence and death may have changed. A New York Times article describes a murder scene in The Irishman as “framed wide, hard and fast — simple, bloody, done”.

  1. Production design –

Sets of Killers of the Flower Moon

Production design (costume and sets) plays an important part in Scorsese’s film. They help him build believable worlds that his characters inhabit. The eye for detail is always immaculate in his films. It’s the same in Killers as it was in Casino or Hugo or The Aviator. The subjects of these films were vastly different, but by building authentic worlds he keeps the audience invested in his stories.

  1. Editing and Cinematography –

Countless images and sequences from Scorsese’s films have inspired many filmmakers over the years. His freeze frames, sped-up footage, long takes, long tracking shots, montages, and slow-motion sequences have created cinematic moments that have stayed in the minds of cinephiles.  But his editing techniques do not have a sameness. In Casino, The Departed, and The Wolf of Wall Street, he resorts to quick cuts and jump cuts to convey the required information or to be in tune with the energy of the film.

A scene from Taxi Driver

In Killers he is in no hurry. The pace is deliberately slow, at least in the beginning, picking up pace gradually towards the end. He trusts his audience to hang in there and stay invested. The nature of the crime shown in the film required this pacing; slow but menacing. Getting this balance right was the trick. It took me a while to understand this aspect while watching the film (a point I had raised earlier).

  1. Music –

Scorsese is known to have compiled several music pieces since his teenage years. He has used them in his films wherever he deemed fit. He is also known to use pop music, rock n roll, instrumentals etc. He uses music to enhance narratives and depict the arc of his characters. They may not be his personal choice of music. Again, there is no sameness when it comes to music. But music is an integral part of his films.

In Killers the music is minimalistic. Just drum beats mostly to create the dread, and to convey the impending doom. In the happier moments, like when the Osage discover oil, he uses classic rock. It works.

A scene from Shutter Island

So in light of the above findings, what did I make of the Killers of the Flower Moon?

Is it the directors’ best work? Maybe not.

Is it compelling cinema? Absolutely yes.

I think it is another feather in the cap of the visionary filmmaker who is aging like fine wine.

A scene from Killers of the Flower Moon

What is the Martin Scorsese signature style of filmmaking? I don’t think he has one, unlike many of his contemporaries, which is what makes him unique.

The only recurring feature of his films is how he studies his characters deeply. The rest is fluid, often taking the style of the technicians and artists he is collaborating with, be it editing, cinematography, music, or production design. The signature for him is not as important as the story that needs to be told. And there is no doubt that Martin Scorsese has told some powerful stories and given us cinephiles many iconic characters over the years.

Ending with another quote of his –

“Your job is to get the audience to care about your obsessions.”

About the author –

Siddhartha Krishnan is the author of “Two and a Half Rainbows – A Collection of Short Stories”. He is also an enthusiastic blogger and, on his website, http://www.whatsonsidsmind.com, he puts out his essays, articles, travelogues and film reviews.

Source reading material –

Studio Binder

New York Times

 

by whatsonsidsmind

Flavor Foragers | Intro | Our Home Cooking Channel

Hello fellow bloggers,

My wife and I are embarking on a culinary adventure. Something that’s been on our minds forever. A culinary channel on YouTube (Link below) –
Food is home. Food is travel. Food is memory. Food is flavor. We are foraging for those flavors and those memories. Join us ‘Flavor Foragers’ on this culinary adventure, as we try to recreate dishes that evoke fond memories of aromas, textures and tastes, that have tantalized not just our tongues but also our minds.
Every dish that has a legacy, has a story, not just about the way it is prepared but also about the way it is relished. We want to bring these food stories, experiences and recipes to life while adding our own touch to these dishes that have stood the test of time.
Please do subscribe to our channel to support us and to know more about this culinary journey.
Our first video is a dish that is a favorite of Kolkatans. A biriyani that has as rich a history as taste. (find the link below)
Thanks,
Sid
by whatsonsidsmind

Oppenheimer Review | Nolan’s Most Human Story Yet

Written by: Siddhartha Krishnan | 6 Min Read

Oppenheimer is the furthest, in my opinion, that Christopher Nolan has traveled from his comfort zone. The film is an amalgamation of genres—a biopic that has psycho-political undertones sufficient to qualify it as a thriller too. Whatever, genre we may choose to fit the film into, it is undoubtedly Nolan’s most human story yet. In making it, he may just have created his masterpiece.

While, there are several departures from Nolan’s earlier films; don’t be mislead into thinking that this film is not quintessentially ‘Nolanesque’. ‘Oppenheimer’ is not science fiction, even though there is a lot of science involved in building an atomic bomb. It is not futuristic; it’s historical drama mostly, but it does deliver a non-didactic message to the future. It is not action-packed and may not have a hero who is hell-bent to save the world. But it does have a scientist in a dilemma about his creation and its impact on humanity.

In short, it is a film about a man of great intellect who is believed to have changed our world forever. For good or bad, Nolan doesn’t give these answers. What he poses instead, are questions.

Lead actor, Cillian Murphy in an interview with film critic Sucharita Tyagi, mentions reading the Gita in preparation for the role, and says that Robert Oppenheimer could have found consolation in the sacred text and the infamous lines, “Now I am become death, the destroyer of worlds“. While it is debatable whether these lines were taken out of context by the scientist; by mentioning the incident, Cillian touches upon an important character trait—the confusion of Oppenheimer about the consequences of his creation. Nolan in another interview affirms, that this predicament of scientists’ vis-a-vis their creations inspired him to make this film. He further adds that the scientific community is comparing the splitting of the atom, to the creation of AI and calling it the ‘Oppenheimer moment’. This I believe is a decent starting point in trying to understand the film.

The film’s trailer may have done a disservice with respect to managing people’s expectations. A faction of the critics has opined that this is an anti-war film, that is not anti-war enough because it sanitizes the brutality that the bomb unleashed both on its target (Hiroshima and Nagasaki) and its place of origin (Los Alamos). Another faction calls the film too long, that digresses into unnecessary territories without showing enough of the fireworks it had promised. To an audience that went in with preconceived notions about the film, these points will hold. However, the truth is that the film is not about the bomb. It is about Oppenheimer, as promised by its title.

Based on the book “American Prometheus – The Triumph and Tragedy of J. Robert Oppenheimer“, the story is character-driven. Unlike Nolan’s earlier films, this film is not plot heavy. It is easier to understand, and the storytelling is simple and yet, intellectually challenging. Nolan has fun with timelines as always to make the sequences rousing. But the absence of an obsession with a novel subject, as we saw in Tenet or Inception, is a welcome change. There is scientific jargon thrown at you but very early on we realize that that is not what the film is about.

I went in for a 6:30 morning show in an IMAX theatre. It was the second Sunday after the film’s release in India and it was a full house. I believe that it is always best to go into a Nolan film not knowing what to expect. It is the best way to enjoy his films. That way the surprises he throws at you become more rewarding.

Here the novelty was watching exemplary acting performances on IMAX. If ever, pure acting required IMAX then this is it. For most parts, we see close-ups of actors, which means that they had no room to falter. But with a stellar cast as this one, the chances of faltering were minimal. However, most of the heavy lifting is done by the protagonist, Cillian Murphy. There is something about his face and eyes that is so unique. He can say so much without really saying it. This is a career-best performance from the actor who had been waiting for such a moment to show his full range.

Several scenes in the film are bound to linger in the minds of audiences. However, the sequence that encapsulated the essence of what the film was trying to achieve is the ‘victory speech scene’ after the successful testing of the bomb. I thought it perfectly captured the conflict in the mind of the protagonist—the elation, confusion, and exasperation. It is the climactic moment of the film in which ‘Oppie’ becomes a hero for his people, and a villain in his head. Noise and silence along with a dash of magic realism are used impeccably in this scene.

The same can be said of the much talked about ‘Trinity test scene’ when the bomb finally explodes in front of its creators. Here, I thought the director used noise and silence to explore more philosophical themes. There is silence when the bomb explodes and the aftermath i.e the rumbling and violent shaking is deliberately delayed as if to say, that it will take time for the inventors to fully understand the repercussions of their creation.

As in all of Nolan’s films the antagonist in ‘Oppenheimer’ is a formidable opponent. Robert Downey Jr plays the role of the vengeful, Lewis Strauss, a businessman and philanthropist, out to destroy Oppenheimer. His character arc is written brilliantly, and Robert Downey Jr delivers an assured, nuanced performance which is a highlight of the film.

In terms of screen time the rest of the cast, which includes A-list actors like Matt Damon, Gary Oldman, Emily Blunt, Florence Pugh, Rami Malek, and Josh Hartnett play small but significant parts. If you’ve seen the post-release interviews of some of these actors, it is clear that their job was to play their role in the life of Oppenheimer. That’s it. And they do with absolute sincerity. Among them Emily Blunt as Oppie’s wife ‘Kitty’ and Matt Damon as ‘Gen. Les Groves’ stand out.

But it is the editing of ‘Oppenheimer’ which is truly a masterclass. It is deft and divine! Yes, it is a strength in all of Nolan’s films; given how he plays with time. But here there is an almost languid, poetic touch to it. Mind you, unlike Nolan’s previous films, this is not an action-packed film, and hence the scenes are not naturally stirring. They had to be cut intelligently to create that thrill without confusing audiences. Editor Jennifer Lame expertly stitches the different stages of Oppenheimer’s life in this non-linear narrative and the end product is mesmerizing.

I was content with what I saw that Sunday morning. And that contentment I noticed in the faces of people who left the theatre that day. There was pin-drop silence in the hall throughout the 3-hour run time, and that silence continued as we exited the hall.

Cinema, we know, is an art form. Perhaps the most collaborative one. It has a language of its own. And, just like other art forms its purpose is to tell a story, thereby evoking emotions within the audience consuming it. The language of cinema is distinct from the spoken word uttered by some of its most liked characters. Sadly, there are a handful of directors left who make an effort to preserve this language of cinema. Nolan is one of those rare directors who believes that his audience is intelligent.

With ‘Oppenheimer’ the maverick director goes into uncharted territories and paints his masterpiece. This in my opinion is that work that the great auteurs of the past, the likes of Ray and Kurosawa, will be proud of. They might just be giving Nolan a light applause from heaven.

Go watch it in a theatre. Preferably in IMAX.

IMDb rating – 8.6/10

My rating – 5/5

About the author –

Siddhartha Krishnan is the author of Two and a Half Rainbows – A Collection of Short Stories. He is also a passionate blogger, and on his website, www.whatsonsidsmind.com, you can find his travel diaries, food stories, book recommendations and movie reviews.

All rights reserved by whatsonsidsmind.com

by whatsonsidsmind

A Note to Achen

Written by: Siddhartha Krishnan

The fear of this day had been lurking in our minds for several years. 33 years to be precise, ever since a tumour was found in his brain in 1990. Thereafter, he underwent a brain tumour surgery at Christian Medical College, Vellore. I was seven years old then, and my brother five. Although, he managed to come out of that ordeal, his body was destined to take a battering every 5 to 10 years. A prostate gland surgery in 1998, vertigo in 2002, a stroke that left him half paralyzed in 2007. And if that wasn’t enough a goof up by a barber left a big swelling at the back of his neck in 2011, which required surgical intervention.

When your body becomes your greatest enemy, the spirit of the warrior within is put to the ultimate test. Achen proved time and again that he was a fighter. He wanted to live for his loved ones. It ain’t over until it is over. Until our goals are achieved, our duties are fulfilled. His life for me was a lesson in enduring pain, and in believing that our hardships can never be greater than the goals we seek.

He got up from one illness after another. Which is why my mother, Meera, never left the hope that her Sachidanand would get up and walk again.

That night in the ICU after a round of bronchoscopy, he was wide awake. His cognitive abilities had miraculously returned. We thought he wouldn’t be able to speak, but he did. He was alert, the most alert he had been since admission to Apollo hospital, Kolkata.

“Acha we will go home soon”, I assured. He didn’t seem too happy.

“Don’t you want to go home?”, I asked.

“No”, he replied. I was startled by his reply.

“Why?”, I enquired.

“How will this get managed in the house?”, he asked.

It was then that I realised that the patient had taken a backseat, and the father in him had resurfaced. He didn’t want to cause any inconvenience to his children, as always.

“Acha you are the only fighter I know. You’ve fought this before, you will again. We are in this together”, I assured him, clenching my fist. He clenched his fist back at us. The fight was definitely on at that stage.

However, his body had aged, and with covid pneumonia and three deadly bacteria in his lungs, this was going to take a miracle.

We had no option but to hope for the best and to prepare for the worst. Do what we could with all earnesty, but not be a reason for his suffering. Not to be the ones to prolong his suffering. The next two months were the toughest for us as family, as we saw the virus gradually ravaging his body. He was at home under critical care nursing.

He left us in the morning of 20th June. Achen was a true blood Kolkatan and he passed away in the city he loved the most.

A flood of memories drowned me at Prinsep Ghat. The Ganga was calm that afternoon, and yet I was being lashed by sporadic waves of myriad emotions. My face puckered up every now and then, resisting a cry. How do I want to remember my father, I asked myself? I didn’t have an answer then. Such questions take time to get answered.

A few days later as I stared at nothingness some answers came my way.

Achen is a part of me. He is there when I think, he is there when I am sensitive, he is there in my speech, he is there in my writing and he is there in the way I deal with people. I am not him, but he is a part of me. He wasn’t perfect. He was a beautiful shade of gray.

A man with flaws. But not one to shy away from a challenge.

That evening when we were busy clearing the flat in Bhowanipore where three generations of our family had stayed, a lesser known fact revealed itself. A mountain of books lay on the floor. My father’s collection. As I sifted through it, to pick whatever I could, I realised that Achen read all perspectives of a known problem. He was open to new ideas and thoughts. I knew that he had the ability to listen patiently to opposing views, but was pleasantly surprised that he had invested time and effort to understand them as well. A well-read man.

He was a chartered accountant by profession. A rank holder. Smart, intelligent and articulate. One who could hold the attention of a crowd when he spoke. In his prime he was committed to social causes that mattered to him. People loved his company.

As he got older, he spoke less and observed more. When I revisit my life with him, many more avatars of his come to the fore. At 6, my superhero. At 10, my storyteller. At 15, my coach (a strict disciplinarian). At 21, my philosopher. At 39, my guiding light.

He is my Mufasa, my Lion King, always keeping watch on me. And whenever I am lacking, he will whisper in my ears, “Remember”.

Acha, I know you did the best you could and no matter what people say, you were a great father and a beautiful human being.


			





			
				


	
			
	
	

				

			 by whatsonsidsmind		

		
		
Travel Diaries | Attappadi | Day 2
	


	


	


	

		
Pic description – Malleswaran Mudi as seen from a tribal hamlet in Attappadi


Written by: Siddhartha Krishnan | 6 Min Read


We woke up to a bright sunny morning. All that traveling the previous day had battered our bodies a bit. A good night’s sleep was the perfect cure for it. We stepped out of our cottage to be welcomed by the cry of peacocks calling out to their mates. They wandered around the property as freely as us. Although shy, it was clear that they had lost their fear of humans. After a cup of coffee, we took a stroll to the neighborhood store to buy a few essentials. The sky was clear that day, and the fragrant smells of the foliage renewed our vigor.


Back at the hotel, breakfast was ready. ‘Chana Bhatura’ and ‘Puttu and Kadala curry’ was on offer. An unusual combination of North and South Indian dishes, but it worked well. The young tribal boy (not giving away names for the sake of privacy) who had told us about a tribal hamlet uphill was at our service. A conversation with him brought to light places deep in the forest which were off-limits to outsiders. He spoke of mesmerizing waterfalls, viewpoints, meadows, and river streams within the forest that far surpassed, in beauty, the places we had seen so far. We couldn’t substantiate his claims, but his description of these places sparked our imagination. Our only option was to create images of these idyllic locations in our minds.


Pic description – Treetop Silent Valley Resort


However, the boy had agreed to take us to a Muduga tribal village later in the day, and that was decent consolation for us, considering we were only on a two-day trip to this mysterious, forested region. We didn’t have sufficient time to win the trust of the locals and explore more.


The area around the Silent Valley National Park is mostly dominated by the Muduga tribe. Some of the staff working in our resort were from that community. However, in Attapadi as a whole, it is the Irula tribe who are in the majority. Government estimates suggest the total tribal population to be around 35000. Approximately 80% of them are Irulas, 10% are Mudugas and 8% are Kurumbas. Each of these tribes has its unique culture, religious beliefs, and dialect which distinguishes them from each other and the settlers.


As per the Census of 1951, 90% of Attappadi’s population was tribal back then. Now that figure has been halved to 44%. This was due to the mass migration of settlers from other parts of Kerala and the nearby areas of Tamil Nadu. The steady migration of tribal people to different parts of Kerala and elsewhere was also a contributing factor, but not a defining one.


The principal sources of income of the tribal people are agriculture and livestock rearing. They grow plantain, coconut, and cereals. Minor forest produces like honey, ginger, and cardamom also contribute to their income. This region is also known for its coffee and areca nuts, but these are mostly grown by the non-tribal population. Although they now have access to all kinds of foods, their staple as hunter-gatherers initially consisted of wild roots, tubers, seeds, fruits, and meat. They have an understanding of medicinal plants and heal their sick using methods passed down by their ancestors.


The tribals of Attappadi dwell within hamlets called ‘Ooru’ which is a cluster of small houses. There are an estimated 192 hamlets scattered around Attappadi. It is to one of these hamlets we were planning to go to later in the day.


The young boy also spoke about how his ancestors traveled in the past. The distances we see on GPS were meaningless to them. The understanding of states and borders was irrelevant. They traveled on ancient trails left by their ancestors, who had a deep understanding of the forest and its dangers. They gave the forest the respect it deserved and took only what was required from it.


After breakfast, we drove to the Malleswaram Temple which we had not visited the previous day. Located in Chemmannur, at a distance of 5 km from Mukkali on the Mannarkkad – Anakkatti road, it is a place, I was told not to miss. The temple was included in the Swadesh Darshan Project of the Central Government, and the Shivaratri celebrations there are a major attraction. The festivities had recently concluded; the remains of which could be seen all around the clear, open land on the opposite side of the temple.


Pic description – Malleswaram temple at Chemmannur, Attappadi


At Malleswaram, Lord Shiva is Mallan and Goddess Parvathy is Malli. Here, the Irulas are the keeper of traditions; they hold the right to protect the rituals passed down through generations. On a normal day, the Irula priests invoke the gods three times a day to bless their land and their ventures. Their pleas reach a crescendo on Shivratri night when a group of Irula priests, and young men, venture through an ancient trail to reach the top of a mountain called the Malleswaran Mudi—the highest peak in the Attappadi Forest Reserve at an elevation of 1664 meters. The Irulas believe the mountain to be a giant Shiva Lingam. On their way, sometimes, they are attacked by elephants. But they know how to fend them off, without being overly aggressive. The priests perform rituals at the top of the mountain and spend the night there; after which the festivities are brought to an end.


To us, the temple presented a humble image. Nothing grandiose or loud. We headed in, bowed before the deities, and sought their blessings. The Malleswaran Mudi could be seen clearly from the temple. We wondered how adventurous it would be to walk on that forbidden trail with the Adivasis and spend a night on top of the sacred mountain? What kind of stories would the Irulas tell us under a starry sky in the absolute wilderness?


With these thoughts in mind, we headed back to the resort.


Pic description – At Malleswaram Temple, Attappadi


We opted for a light lunch that day and thereafter took a short nap. At 4 pm we were fresh as daisies to venture to the Muduga Ooru. We took a left on the interlocked road leading to Mukkali Junction to head uphill. This road is only used by the tribal population and outsiders are strictly prohibited as confirmed by the boards that we saw on the way. The forest got thicker with every passing mile. To be honest the seclusion did feel a bit scary. However, our young guide assured us that we were safe. “As long as you are with me, you are safe”, he asserted.


The road snaked through the hill until we reached a meadow. Two old looking tribal men were sharing a beedi a few meters ahead. We got out of the car and took jittery steps towards them. They didn’t seem too pleased to see us. One of them called out to the boy and gave him an earful. A negotiation followed. It went on for a while.


We felt helpless because we couldn’t contribute in any way to pacify the irate natives as their language was alien. Moreover, we weren’t sure if opening our mouths was a good idea in the first place. However, a cheeky grin suddenly appeared on the old man’s face, suggesting that he was pulling the mickey out of us all this while. We were shaken; not having anticipated such dry humor in the middle of a jungle.




The boy led us to a mud path that led to the village. A few curious dogs rushed towards us, sniffed, and then went about doing their business. The old man who had his eyes on us broke into a dirge. At least that’s what it sounded like. The boy didn’t seem too bothered. “He’s had a tipple. That’s all. Moreover, he is not native of this village”, he assured. We smiled; more out of relief than anything else.


As we went past a cluster of small dwellings, we realized that the natives were shy. They maintained minimal eye contact with us. Their clothes weren’t too different from the settlers, and their language sounded like a mix of many languages. Some of the words, though, were familiar. The government had built one-room concrete houses with solar panels installed on roofs. The houses also had adequate water supply.




The boy told us that in the past his ancestors used to live in improvised bamboo huts. Back then, temporary shelters were the only option because as foragers they were under constant threat of being attacked by wild animals or being ravaged by bad weather. Now these structures are built to shelter poultry and goats. We had spotted a couple of them at the entrance of the Ooru.


Jeeps with government permits were the only mode of transportation for the natives, and on our way up we did see a few pass by. Over the years, measures have been taken by the government to educate the tribal population and employ them in government jobs; so that they could be brought into the mainstream. But this was a choice given to them and not a compulsion. So many had opted not to.


Despite the calm, I could sense the discomfort. It was apparent that the Mudugas didn’t want to be disturbed by us city dwellers. Some unwanted past experiences could have been the reason behind their wariness.


A short walk took us to a clearing. We soon realized that what we were standing on was a football ground. It was netted on all sides. The panoramic view was quite stunning. To our left and right were step farms belonging to the Mudugas. During summers the danger of being attacked by elephants is quite high. The pachyderms come down the hills in search of water and plantains often leading to a man-animal conflict.


Pic description – View from a Muduga Ooru near Silent Valley National Park


“Isn’t that the Malleswaran Mudi?”, I asked the boy exuberantly, pointing at a familiar looking peak. The boy nodded in agreement. I wasn’t expecting to see the mountain from there. It was the clearest view of the sacred mountain that we had got until then. It was then that the boy told us that the Irulas believe that Shiva or Mallan was from their lineage and the Mudugas believe that Parvathy or Malli was from their tribe. Their marriage was an alliance between two tribal communities. I didn’t know what to make of it. But it made for a fascinating story!


As I drove back to the resort, I promised myself that such unconventional destinations will be on my travel list going forward. That night under a starry sky at the resort, my cousin and I were in high spirits. We made a list of places that we needed to visit. After a few drinks, such lists were inevitable. But somehow, I felt, that another visit to Attappadi was on the cards.


The next day we left for Palakkad after breakfast. We reached close to noon and after a nice, wholesome meal cooked by Amma, I crashed onto my bed to take a long nap. There was just one more place that I had to visit to culminate my holiday. A reservoir with a spectacular sunset point.


Kava Island Reservoir in Malampuzha is not a place known to tourists. But it had gained popularity among bikers and locals over the years. I drove through the meandering roads of Palakkad flanked by florescent green paddy fields on both sides. My cousin, whom I trust more than GPS when in Palakkad was there to guide me, and my parents were enjoying the sights of nature from the rear seats. It had been a while since they had been out.


Onion, plantain and chili fritters, and hot cups of tea perfectly complemented the wonderful sunset that we witnessed that day. I couldn’t have asked for a better ending to my short holiday.


Pic description – Sunset at Kava Island Reservoir, Malampuzha, Palakkad


***********************************


About the author –




Siddhartha Krishnan is the author of Two and a Half Rainbows – A Collection of Short Stories. He is also a passionate blogger, and on his website, www.whatsonsidsmind.com, you can find his travel diaries, food stories, book recommendations, and movie reviews.


All rights reserved by whatsonsidsmind.com

			





			
				


	
			
	
	

				

			 by whatsonsidsmind		

		
		
Travel Diaries | Attappadi | Day 1
	


	


	


	

		
Pic description – Night in Attappadi


Written by Siddhartha Krishnan | 5 Min Read


Attappadi, a tribal taluk in Palakkad district, is that corner of the town about which everyone has a story. But folks narrating them always do so in third person, and rarely as a personal experience. It’s not that these places have dubious histories; it’s just that they are mysterious. It was the mystique that piqued my interest at first; later it was the promise of solitude.


There was, however, another selfish reason to visit Attappadi. To recce a certain location; a river stream that I had seen on the internet, for a story that I had begun to write.


We often read about pristine rivers and virgin forests in the descriptions of nature by poets. Soon after, we realize that these places have to be dreamed into life because they are the creations of an imaginative mind. If we are lucky, we may stumble upon them by accident, and rarely by will. But this place seemed real. And I couldn’t leave it to imagination. So last month, I took a cousin along with whom I had been planning a trip to Attappadi for ages, to explore its wonders.


We left home at 7am, taking the NH 966 route, that goes via Mundur to reach Mukkali in Attappadi. The journey was 2.5 hours long, but we had planned to take a minor diversion to Kanhirapuzha Dam halfway into the journey. On this route, such diversions can take one to idyllic spots that are within touching distance of rivers, waterfalls and mountain ranges.


Pic description – Kanhirapuzha Dam site


At 8 in the morning, it was childish of us to expect the park adjoining the dam to be open. However, we were in the mood for adventure, so this little failure could not dampen our spirits. We drove on, once again, to be embraced by the sheen of tarmac and the green of the mountains. Kerala is God’s own country for a reason. Within every 100-200 kms, you get a hill station, a forest, a river and a beach, all close to each other. Nature wants to show off. So getting bored is not an option.


After crossing Mundur, we stopped for breakfast at Mannarkkad in one of the many ‘thattukadas’. These small eating joints in Kerala serve the most lip-smacking local delicacies (usually cooked on wood fire) that are unmatched in taste by the upmarket restaurants. What’s more, they don’t burn your pockets.


Egg roast, idiyappams and dosas were on offer. They were delicious.


Pic description – Thattukada at Mannarkkad


Recharged, we drove on and reached the foothills of the Western ghats to merge with the Mannarkkad-Anakkatti road. This road thereafter meanders through many hair-pin bends to reach Attappadi. It was spring, and we were told that these forests were at their magical best during monsoons. We may have missed out on that, but nothing stopped our wild minds from imagining those bright greens covered in mist.


We reached Mukkali junction at 10 am. A left from there took us to the entrance of one of the last undisturbed tracts of the Western ghats—Silent Valley National Park. They say that the sound of the cicadas is absent here, hence the name. Our car was now on the interlocked road that took us to a police checkpoint. The place is under constant vigil by the police, and rightly so. Attappadi and its reserve forests are home to three tribal communities—Irulas, Kurumbas and Mudugas. Each of these communities has their unique culture. The forest is also home to rare species of flora and fauna that need protection.


After finishing with the formalities, we headed to the only resort in that part of Attappadi—Treetop Resort, Silent Valley.


We checked into our rooms, freshened up, and took a stroll around the property. The resort had 12 cottages of varying sizes and three 3 tree huts. They offered non-ac rooms which were fairly spacious and clean. The property was sufficiently well-maintained. The amenities included free wi-fi, a swimming pool and a kid’s play area. For an extra charge, they arrange for campfires, jeep trekking and forest safari. The resort has a multi-cuisine restaurant, but the menu has limited options. Our cottage for two was at one end of the property, but we could drive right up to it.


A quick chat with the hotel staff revealed that all the major sightseeing places were at the other end of Attappadi. This included the location that I was in search of. GPS had painted a different picture; so this came as a shock. Two different places having the same name was the problem.


Pic description – Cottage at Treetop Resort, Silent Valley


Thankfully, we had an extra day at hand. So we could alter our plans. We made the expedition to the other end of town, right away, and planned to be back before sunset.


Back on the Mannarkkad-Anakkatti road, we were on our way to a viewpoint called Narassimukku. On the way, we saw the Malleswaran Temple, which was on my list of places to see. We had to get back to it later since the sun was blazing by then. Thereafter, we reached a junction where the sign board suggested a road to Ooty. The route was a scenic one; we were told. But at a distance of 95 kms, we knew that this trip had to be a standalone one.


Five minutes later, we saw a bridge. It was called the Bhavani River bridge. We parked the car by the roadside and walked towards it. It looked similar to the place I was in search of, but quickly realised it wasn’t. However, the place was breathtakingly beautiful. You couldn’t see human settlements there with the naked eye, but they are there. Hiding within a blanket of green. The place seemed quite famous, as passersby were taking the diversion to the bridge. A small crowd had gathered to savour the sight of mountains at a distance, and to take a dip in the Bhavani River that originates in the Nilgiri Hills and flows towards the neighbouring state of Tamil Nadu. The river was quite shallow. In the monsoons, it is at its fiercest.


Pic description – Bhavani River Bridge


We drove on and soon reached the scenic village of Agali. A short drive uphill from there took us to Narassimukku. We saw a few tourists at a distance taking a mountain trail to various vantage points. There were hardly any trees around. It was an open flat land on the top of the hill. We got a clear, panoramic view of the valley. Some scenes from the superhit Malayalam film ‘Ayyappan Koshiyum’, were shot at this location.


Since it was lunchtime, our stomachs had begun to grumble. We headed down hill to Agali to have lunch at a small restaurant that we had spotted on our way up. In places like these, you cannot expect a lavish menu, so we took what was on offer.


Pic description – View Point at Narissimukku


Thereafter, we were back on the Anakkatti road, The forest got thicker with every passing mile. A river stream suddenly appeared to our left, which lifted my spirits. ‘Chittur River Stream’ was the place I was in search. A low bridge characterized it. And, of course, a lot more. But the bridge was easier to spot from the road, so I was on the lookout. We passed by a hanging bridge, which happened to be someone’s private property.


GPS urged us to keep going. Could it be trusted in these forests? I wondered.


We halted now and then to ask the locals. But they hadn’t heard of a river stream by that name. My hopes dwindled. Maybe the place wasn’t as idyllic as I had imagined it to be? Maybe such places were too common for the locals to boast about?


GPS, though, was still pleading for us to go further. We drove ahead at a snail’s pace until it asked us to stop. “You have arrived at your destination”, it said. We looked around. Nothing.


“All of this for nothing!” I smirked. My cousin grinned back.


A herdsman with his goats passed by us. We showed him the pictures. He listened patiently to our description of the location. A smile appeared on his face. He pointed northwards and said, “A little more. Just walk”.


We walked.


100 metres ahead … finally, a glimpse of something that appeared like a bridge. We hurried down the gravel road to meet it.


A minute later, I let out a sigh of relief. The place was exactly as I had thought it to be!


No human settlements in sight. Just a clear stream; its sparkling waters were home to shoals of small fish. The low bridge invited us to sit on its edge and watch the stream flow into the abyss. The surrounding forest embraced us. And the sound of chirping birds nestled within them made us feel welcome.


A man on a scooter crossed the bridge and halted next to us. He was a farmer who grew areca nuts in the forested hills behind us. We were eager to know his story. And he was happy to tell us about the place, its people, their agricultural practices, the changes over the years and anecdotes from his personal life. We didn’t have to provoke him to give away these stories. It was as if he was waiting for someone to talk to.


We spent an hour drenching our feet in the cold, transparent water of the stream. Splashing some of it on our faces and gazing at the ethereal beauty of unspoiled nature. It had been a long day. And this was a fitting end.


Pic description – Chittur River Stream


We drove back to the resort, feeling contented. The air was much cooler as the sun had begun its descent. The farmers’ stories ignited our minds. We wanted to know more about the tribal communities of Attapadi. At the resort, that evening, we met a young tribal boy, who worked in the resort. He spoke of a small tribal village up in the mountains. The area was supposedly off-limit for tourists. But he assured us that in his company we would be allowed into the village.


We were thrilled at that assurance!


Before I went to sleep that night, I saw a creature that perhaps lent its name to this forested region. It was on the bathroom wall—a leech. Also called ‘Atta’ in Malayalam.


Pic description – An Atta in Attapadi


In the next chapter of the Attappadi travel diary …


    

  • Trip to a Muduga Tribal village
    • 

  • A visit to the Malleswaran temple – a place with a unique history.
    • 

  • Fun drive to Kava Island Reservoir in Palakkad with family.
    • 





About the author –


Siddhartha Krishnan is the author of Two and a Half Rainbows – A Collection of Short Stories. He is also a passionate blogger, and on his website, www.whatsonsidsmind.com, you can find his travel diaries, food stories, book recommendations and movie reviews.


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Travel Diaries – Uttarakhand | Chapter 3 – Bhimtal
	


	


	


	

		
Pic description: Bhimtal Lake


Written by Siddhartha Krishnan | 5 Min Read


Clear skies and a soothing breeze embraced us as soon as we exited the Chitai Temple. The day was inching towards noon, so we planned to have lunch at Garam Pani, a village en route Bhimtal, at an hour’s distance. The NH109 route that we took was a scenic one, and for most of the journey, we had the Kosi River towards our right and the green alpine hills all around for company. Since it was the dry season, the river was quite shallow and the boulders on the riverbed resembled Colonel Buendia’s pre-historic eggs from that distant afternoon when his father took him to discover ice. Construction work was underway at a few places, mainly to widen the road and build bridges. So the drive to Garam Pani took us an extra half hour.


Garam Pani, also known as Khairna, is a small hamlet in Nainital district on the banks of the river Kosi. The name Khairna comes from a namesake bridge, which connects the two sides of the Kosi River. We stopped for lunch at a small roadside joint called Tribhuvan, that had the river flowing beside it. We could walk to the river from there but were advised not to. The food was the usual fare that I had come to expect in Kumaon. To be honest, my taste buds were craving change, but, since the hotel at Bhimtal had promised variety, I asked my hankering tongue to show some civility.




Just outside the restaurant, we noticed a small temple. Beside it was a drinking water fountain that was supposedly sacred. I cannot vouch for the holiness of the water, but coming from the mountains, it was surely refreshing. I recalled seeing a similar water fountain in Antargange, in Karnataka, where the water jetted out of an idol of Nandi (the bull vahana of Lord Shiva). The locals there had claimed that the perennial water source of the fountain was a mystery.


I wondered, if there were hundreds of such fountains around India with such fascinating stories associated with them? We drank the sweet water of the fountain, cleansed our faces with it; and were now exuberant as ever.


Midway to Bhimtal from Khairna, on the Bhowali-Ranikhet (NH109) road, we halted at Kainchi Dham, a Hanuman Temple that is also the ashram of world-renowned spiritual guru, Neem Karoli Baba. Known among his followers simply as ‘Maharaj Ji’, Neem Karoli Baba came to be known to the rest of India and the world, when a few famous Americans came to learn from him in the 1960’s and 70s. In the years to come, his teachings influenced the likes of Steve Jobs, Mark Zuckerberg, Julia Roberts and many more.


A staunch devotee of Lord Hanuman (some even claim that he is an avatar of the God) the guru built the temple in 1964 and spent the last decade of his life there. However, he died in Vrindavan in 1973, and his samadhi shrine was built within the Vrindavan ashram complex.


Pic description: Kainchi Dham Temple


The temple is located on the other side of the Kosi River, and devotees must cross a bridge to enter it. It is not vast in terms of acreage, but there is always a steady crowd at this place. Tourists heading towards Bhimtal and Nainital stop by at the temple before heading towards their destinations. We went around the premise, learnt a little more about the guru, his teachings, and his influence among the masses. His picture is in almost every house and establishment in this area.


The crowds surged as the clock struck three, and we felt a slight chill in the air as the sun began to lose its glory. We got into the car to head to Bhimtal. A 45-min drive from Kainchi took us there, and we were at our hotel well before sunset.


Pic description: Bhimtal lake view from the room at Fisherman’s Lodge


Named after Bhima, the second of the Pandava brothers, from the Hindu epic Mahabharata; Bhimtal is a charming hill station within Nainital district, located at an elevation of 1370 metres. It is believed that Bhima had visited an old Shiva temple at the bank of Bhimtal lake during the period of vanvas (banishment from kingdom) of the Pandavas. Some also believe that the place could have been part of the ancient silk route.


The region boasts three hill stations, namely Nainital, Bhimtal and Naukuchiatal, that are built around beautiful lakes. The most bustling of which is Nainital. But we wanted a quiet place; quainter and more relaxed. So Bhimtal was a simple choice.


Our stay for the night was at Fisherman’s Lodge, which is located just beside the lake. On either side of the lake, there are several hotels to choose from. The hotels at Bhimtal are more city-like in terms of their decor, amenities, comforts and service. The restaurants are mostly multi-cuisine, although you may not get everything you would like.


Pic description: Room at Fisherman’s Lodge


While booking rooms on the internet, often what we get is deception. The pictures are either exaggerated or ancient! Hence, we had cultivated the habit of keeping our expectations low, so that we aren’t too disappointed when we get there. But we were in for a pleasant surprise. The rooms were exactly as we had seen in the photographs. Clean and spacious, with tastefully done interiors. The furniture, fixtures, furnishings and equipment were all of high quality. Something you would only expect in a 5-star hotel, and not a 4-star setup.


Another unique selling point of the hotel is its restaurant, that has an open-air seating area which gives an elevated, unhindered view of the lake and surrounding hills. Once I had eye-balled the food menu while checking-in, my restless tongue let go a sigh of relief as well. The poor fellow had forgotten the taste of Chinese food.


We settled into our room, took a quick shower, and rested for a while. The sun had set by then.


Pic description: taking a stroll around the lake in the evening.


Around 6pm we decided to take a stroll around the lake. Our hotel was located on the less crowded side of the lake, while all the frantic activity was happening on the other side. There are several cafes and restaurants on that side which explained the hustle. The most famous among them is the Aquarium Island Café, which is located on the lake itself. A boat takes you to the Café for a charge. We had plans at our hotel, so we gave these places a miss. However, we walked around the lake for a while, recalling all that we had experienced in the hills over the 3 days.


Pic description: View of the lake from the restaurant deck


We returned to our hotel to be welcomed by the strumming of a guitar, and a soothing voice that was humming familiar tunes. While checking-in we were made aware of a musical performance in the evening. We noticed two youngsters getting warmed up for their act under a tree on the deck. So we took the table to their right next to a bonfire. Smoke bellowed from the open grills, spiraling into the night sky to create a haze over the moon. It was a starry, dreamy night. The music slowly tugged at our heartstrings. We hummed, tapped, and swayed to the tunes. The young singer who was singing unplugged versions of popular songs, old and new, was gracious enough to take our song requests as well.


A wonderful last night in the hills it had turned out to be! One to remember for years to come. What’s more, we got our favorite delicacies for dinner too.




The next morning, we had an early breakfast and checked out of the hotel to explore Bhimtal Lake. It had the vibe of lakes of most hill stations in India, but not so frantic. I come from a city of lakes and gardens, but there is something about a hill station lake that is unmatchable. They are pristine, and the surrounding landscape makes them even more alluring. Bhimtal lake was magical that morning and its turquoise waters were inviting. We opted for a paddle boat and took turns to paddle around the vast expanse of the water body. We got a closer view of the hills from the lake, and roads that snaked through it that were invisible to the naked eye from the hotel room.


After paddling for 30 mins, we snacked on noodles and pani poori. There are many street vendors selling food items near the lake. You can also pick up souvenirs from the many shops selling handicrafts.




At this point, we had originally planned to bring our Himalayan sojourn to an end. But our cab driver had other ideas. He suggested that we take a small diversion to Naukuchiatal which was just 20 mins away. It was only 11 am, so we had time on our hands. Hence, we went ahead to see the unplanned addition to the itinerary.


On the way, we saw a Hanuman Temple, quite famous in the area, that housed a 52 feet tall statue of the God. We stopped to have a look. The temple, like the many others in Kumaon, provided a scenic view of the valley. In the skies, we noticed a few adventurers paragliding. We had run out of time, so that adventure had to wait.


Pic description: Hanuman Temple near Naukuchiatal


We reached Naukuchiatal shortly after. The place was much quieter, and it felt like a younger brother of Bhimtal. There were far lesser shops and establishments here. But the place was no less charming. It, too, had an idyllic lake as a prized possession. This time, we opted for a shikara ride that costs Rs 600 per family. The boat was beautifully decorated. We glided in the pristine waters, listening to the stories of the boatman, and making most of the little time we had left in the hills—singing songs, stroking the ripples and taking photographs.


Pic description: Shikara ride at Naukuchiatal lake


Once done, with a heavy heart, we resigned to the fact that our brief stay in Dev Bhoomi was over. There is so much more to do in this Himalayan paradise. But it cannot be done in just a few days. Uttarakhand, the land of mountains, of temples, of faith, folklores and history, needs multiple visits to explore its diversity, heritage and culture. And as we sat in the car to head to the plains, we made a promise to come back, sooner than later. And if things worked out, maybe, just maybe, build a house within the alpine forests and its perfumed air someday. Well, humans and their lofty dreams.


About the author –




Siddhartha Krishnan is the author of Two and a Half Rainbows – A Collection of Short Stories. He is also a passionate blogger, and on his website, www.whatsonsidsmind.com, you can find his travel diaries, food stories, book recommendations and movie reviews.


All rights reserved by whatsonsidsmind.com