Orange City Film Festival: ‘It’s all about placing of lights, camera’

NAGPUR: A panel discussion and interaction with audience was followed by the screening of Adoor Gopalakrishnan’s film Elippathayam (The Rat Trap) on Friday at PVR as part of the ongoing Orange City International Film Festival.
The 1982 film is one of the most outstanding pieces in the director’s filmography. It veers around the dying feudal system in Kerala and the way feudal lords coped with it.
Referring to the film as one which gives a sense of good cinema, critic Samar Nakhate said, “The movie goes beyond the legacy of filmmaking, remains culture specific, addresses larger human concerns and is yet the most original work seen on screen.”
The concept of space and treatment of the subject — ethnic vs globalization applies to modern-day concept of human references, Nakhate added.
Speaking about the way he conceptualized the film, Gopalakrishnan said, “Unni, the main character refuses to change and was forcibly made to do so. In the end when he is shown drenched in water, his mannerism is that of a rat. I didn’t want this character to die. I wanted him to get a chance to reform.”
Speaking about the wide acceptance that the film got, the director said, “I thought only people living in Kerala will understand this film but people accepted it as universal.”
Detailing the pace and structure of the film and the way he has used colours, Gopalakrishnan said, “The pace and structure comes from the subject of the film. Many found it very slow. I can only say that if they want it to be faster, they will have to view it in fast forward mode.”
Explaining the use of colour, he said, “That was my first film in colour and I used it to convey the characters. The youngest rebellious sister wears red, the middle one who is quite and ailing wears blue, while the most practical of them all who lives outside the house wears green which conveys her earthiness.”
Having passed out of FTII, Pune, in 1965, Gopalakrishnan said he could make his first film after seven years. “People in those days did not understand what a course in filmmaking would teach. Today, Mumbai and even regional films industry is flooded with graduates from this institution who are doing a commendable job,” he said.
Speaking about the lyrical quality of his filmmaking, especially the documentaries, Gopalkrishnan said, “It is all about the placing of lights and camera. I shoot it from the level from where the audience is watching and the lights focus only on the artist. I capture all the movements and don’t make any cuts.”
Citing the reasons behind starting the film society movements in his state, the legendary filmmaker said, “I wanted to continue watching the good films that I used to see at FTII.”