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Artist's perpetual quest for creative freedom:

Film Review

by Indeewara THILAKARATHNE and Ranga CHANDRARATHNE

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The Asian premiere of Ketan Mehta's latest film Rag Rasiya (Colours of Passion) was held in the enchanting port city of Galle as part of the fundraiser events leading to the Galle Film Festival of 2009 (GFF).

The film is based on a biography of 19th century legendary Indian painter Raja Ravi Varma by Marathi novelist Ranjith Desai. Apart from the poignant love story between Raja Ravi Varma (Randeep Hooda) and his muse Sugandha (Nandana Sen), the film brings up issues of creative freedom, notion of morality and above all the artist's perpetual struggle for creative freedom especially against the backdrop of rising extremism which poses a serious threat to artistic freedom and freedom of expression.

The story unfolds in a court room where the celebrated painter Raja Ravi Varma is charged with obscenity, immorality and offending religious sentiments by painting Indian mythological characters in nude. Ketan Mehta skillfully intermingles contemporary reality with the past as the film drifts from past to the present. Visually outstanding and professionally perfect Rang Rasiya is perhaps, one of the best films to emerge from India.

Though the film is primarily set in 19th century India, issues of creative freedom which Ketan Mehta convincingly brings up in the form of a lengthy trial, which reminded us of the famous trial heard against D.H Lawrence's "Lady Chatterley's Lover "on the same charges of immorality and obscenity verses artistic and creative freedom, are of universal relevance at all times. During the course of the trial, Raja Ravi Varma (brilliantly portrayed by Randeep Hooda) points out that nudity has been extensively used in Indian classical art, paintings and in mythology as a mode of expression and is part and parcel of great Indian artistic legacy. And he had not offended religious sentiments by rendering his muse's face (Sugandha's face) to classical paintings and commercially printing them en mass that take Varma's arts to every nook and corner of India. Having heard the eloquent testimony made by Varma, Court 'honourably acquitted 'him of all charges framed against him. Though Varma is acquitted, his muse Sugandha committed suicide after her testimony before the court.

Bold attempt

Ketan Mehta should be commended for bringing out issues relevant to the modern era at a time a wave of racial, religious and cultural intolerance is sweeping across the continent. Rise of extremism and fundamentalism has been observed in many lands including in India at the expense of creative freedom and freedom of expression. Rang Rasiya is a film where contemporary reality is in the garb of history. It is no secret that issues faced by Raja Ravi Varma hundred years ago, are still and would face by artists irrespective of culture, nationality or the country and time they live in. Therefore, the central theme of the film is universally applicable. The last scene the climax of the film where extremist stormed into the auction hall where Raja Ravi Varma's priceless painting is going under the hammer, among other things, suggests that artist's quest for creative freedom is a life long struggle.

On the other hand, auction also a symbol of commercialism which has become an inescapable reality. Since transformation of society from feudalism to capitalism, Artists lost traditional patronage and instead they have to rely on the market. Ravi Varma arrives in the city of Bombay following his patron's demise and started a printing press with Fritz Schleicher, a German master printer. The mass production of his paintings not only makes them popular but also brings much -needed capital to Varma who by now becomes a wealthy much sort after artist. It is also Varma who holds, perhaps, India's first exhibition of paintings for the public. Ketan also indirectly suggests that with commercialisation of art, the doors have been opened for the public to enjoy it until then art, especially classical art had been a prerogative of the elite.

Following the suicide of his muse Sugandha, Raja Ravi Varma continues with his work unabated by the tragedy that befell on him. However, since India culture believe in reincarnation or life after death, Sugandha's death marks her departure from the world and perhaps, union with Gods like the Uruvashi's story where the goddess will have to go back to heaven if her true self (naked body) is revealed. Suicide is as if she has released herself from worldly burden and unites with the gods.

Excellent cinematography

Rang Rasiya is exceptional on many counts including its excellent photography, insightful script which has embedded many issues in it and outstanding casting. For instance, well-researched script detailed out the historical figure Raja Ravi Varma and his work.The depicting of 19th century India, socio-cultural background of the time including attire make the film a fascinating journey into history of India dominated by Maharajas and also re-visiting colonial India under the British rule. It is obvious from the very footages of 19th century court room that research has been a dynamic component of the script. Ketan Mehta is also excelled in amalgamating the central theme of the film creative freedom verses fundamentalism into the script.

Some of the dialogues are both insightful and evocative. For instance, in Sugandha's testimony the entire attitude towards women from different perspectives is eptomised in lines "This man turned a woman like me into a goddess and you turned me into a whore". Another instance where dialogues excelled is when Raja Ravi Varma gradually proved charges of obscenity, immorality and offending the religious sentiments bogus to the acclaim of the judges. The last scene of the film sums up the central theme that the quest for artistic freedom should be constantly fought against the rise of demagogues and their rubble rousing cry of fundamentalism and religious fanaticism.

Exceptional casting

Casting plays a vital role in a film as actors and actresses become vehicles of emotions. It is no wonder that real life characters on the silver screen contribute to the re-creation of authentic characters that would etch in the minds of the audience. From the very first frame, casting in the film Rag Rasiya seems to be exceptional. Especially the characters of Raja Ravi Varma (Randeep Hooda) and his muse Sugandha (Nandana Sen) are played with capturing subtle nuances which represents not only socio-economic background of them but also an entire milieu. Director Ketan Mehta as well as Randeep Hooda and Nandana Sen should be commended for bringing to life historical figures and a fascinating era in pre-colonial India.Character of Raja Ravi Varma is the main lead role in the film.

Since it demands extreme patience and a load of research into the milieu in which the historical figure lived, it would have been a daunting task for Randeep Hooda to portray Ravi Varma. However, he has portrayed it brilliantly overcoming many hurdles, offering the audience a glimpse into the physical and psychological traits of the historical figure.

Sugandha's character which is brilliantly portrayed by Nandana Sen has been a well-developed character, once again, encapsulating subtle nuances of the character, representing socio-economic background and that milieu the story is set against. Particularly Nandana Sen has portrayed the intimate scene with colours of passion all over their bodies. It is one of the best scenes in the film.

As a director Ketan Mehta makes an important milestone with Rang Rasiya (Colours of Passion). More than anything else, Ketan Mehta is marked for his highly evolved cinematography and complex diction which has excellently translated history into convincingly and aesthetically satisfying visuals.

Since the story is of a celebrated painter, special attention has been paid on the use of colours. Rang Rasiya (Colours of Passion) will remain as a film where history is skillfully intermingled with contemporary reality.

Painting exhibition

By Sandasen MARASINGHE

"Reflective Landmarks", Sanjeewee Seneviratne's fourth solo water - colour painting exhibition will be held at the Lionel Wendt Art Gallery from November 15 to November 17.

The massive buildings as the National Museum, the Galle Face Hotel, the Old Parliament Building, the Town Hall Building near which I felt I was dwarf created some kind of curiosity and interest in me. These buildings can be viewed from different angles like political, social, cultural etc. but they are the ones that have witnessed all the changes of a transition period before and after freedom was achieved" Sanjeewee was explaining the subject of his painting exhibition. "As well as all these buildings that remind us of the period before the freedom there are characters like the mobile tea markers, bullock carts, basket carriers and men at the hand carts unchanged reminding us of the period before the independence achieved.

These Landmarks and characters, as I see, are the reflections of that transition. This is exactly what I mean by 'Reflective Landmarks'.

Sanjeewee Seneviratne who passed out from the Fine Arts Department of the Kelaniya University with a Bachelor of Arts Honours degree brings Gangarama Siemamalakaya, the Dutch Reformed Church, the Clock Tower, Pettah, the Oratary St. Paul's, Pettah, the Galle Face Green on the water - colour paper. He also brings the unchanged Porters in the evening. Tamil ladies, the Mobile Tea Maker, A Shelter Over the Figures and many others before your eyes on average 25 cm by 35 cm watercolour papers among his 35 watercolour paintings at the exhibition.

The exhibition will declare open by Professor Nimal de Silva of the Faculty of Architecture, University of Moratuwa.