Kanchana Sita

A mythological film, its story was adapted from C. N. Sreekantan Nair’s play of the same name, which is a reworking of Valmiki’s Ramayana. The film interprets a story from the Uttara Kanda of the epic poem Ramayana, where Rama sends his wife, Sita, to the jungle to satisfy his subjects. Sita is never actually seen in the film, but her virtual presence is compellingly evoked in the moods of the forest and the elements. The film retells the epic from a feminist perspective. It was shot in the interior tribal areas of Andhra Pradesh. The roles of the epic heroes are played by Rama Chenchu tribal people, who claim lineage to the mythological Rama. Director Aravindan interweaves the Samkhya-Yoga philosophical concepts of Prakriti-Purusha bonds throughout the film.

The film was produced by K. Ravindran Nair under the banner of General Pictures. The film features an original score by classical musician Rajeev Taranath, cinematography by cinematographer-turned-director Shaji N. Karun, editing by Ramesan, and art direction by Artist Namboothiri. The film became a major critical success upon its release in 1977, although a few mainstream critics panned it. It is credited with being at the forefront of a trend towards independent filmmaking in South India. The film earned Aravindan the National Film Award for Best Direction.

Rama and Lakshmana return to Ayodhya to face Urmila, the spirited wife of Lakshmana. Rama replies to her reproaches for abandoning Sita in the Dandakaranya forests, through which they have just journeyed, that the husband of Sita is only a servant of the people of Ayodhya. The next day, Vasishta arrives to suggest that Rama perform the Ashvamedha yaga (the ritual sacrifice of a horse to Agni, the god of fire) but Rama cannot do without his wife by his side. He is averse to taking a second wife, as Vasishta further suggests. The anguish of Rama at this point is juxtaposed with the people of Ayodhya joyously celebrating the harvest.

Bharata, a brother of Rama who had left Ayodhya twelve years ago, returns. He objects to Rama performing the yaga without Sita. Their argument almost culminates in a physical fight, but nature intervenes; the skies open and a cooling rain pours down upon them.

The yaga begins, with Lakshmana accompanying the horse. The horse strays into Valmiki’s ashram (hermitage), where Rama’s son Lava and Kusha are being brought up. Lava stops the horse and is ready to fight Lakshmana (as the yaga demands). Lakshmana orders that the horse be released, but once again nature takes a hand. Valmiki is strangely moved by what he sees, and he begins to compose the Uttara Rama Charita – the story of Rama.

The horse is led back to Ayodhya, and the ritualistic second stage of the yaga starts. Just then Rama receives the news that Shambuka has resumed his penance, and Lakshmana is despatched to slay the erring shudra. As the ceremony nears completion, Valmiki arrives with Lava and Kusha, but Vasishta debars Valmiki from entering the yagashala. Rama recognises Lava and Kusha as his sons, and takes them to his heart. The joy of Sita, then, is represented in the glorious splendour of nature.

Dénouement

The film ends with an epilogue depicting Rama’s last journey, the Mahaprasthana, as he walks into the river with fire in his hand and becomes one with Sita, the all-pervading nature. When asked whether Rama was really committing suicide, Aravindan replied, “Yes… in all probability. That is what I think. However, his death in Sarayu river is not like any other kind of death. It was a Mahaprasthanam – an event of supreme self-sacrifice and purification, leaving everything behind. Everyone dear to him had gone. He had parted from Lakshmana. He was troubled by many guilt feelings – the murder of Shambuka, the unfairness meted out to Sita… Towards the end of the film, this mood prevails – Rama walks into the Sarayu river with the sacrificial fire, bearing everything, including his loneliness, calling out for Sita … and disappears into the depths of the waters, carrying the sacrificial fire with him into the river is not in Ramayana – it is an interpretation. Somehow the part I liked most in the film is this end.”