Kavalam Sreekumar

Madhu aka Madhavan (Jayaram) is a successful playback singer. Chandramathi (Urvashi) is his illiterate, rustic, betel-chewing wife with a bad habit of spitting in wrong places, and they have four children. It can be described as incompatible matrimony but still a happy one. Madhu loves his wife even though they are out of sync because she has brought him luck. Here enters Lekha (Mamta Mohandas), a sophisticated urban model-cum-singer, who finds a place in the hearts of all the family members. Chandramathi thinks Lekha will be the perfect wife for her husband and a good mother for her children.

Panicker's one-act play deals with the relation of identification between an actor and his or her role. The action takes place on the eve of the last act of the Kathakali piece Keechakavadham (The Killing of Keechaka). The events surrounding the performance uncannily echo events in the play. One character even claims to have killed the lead actor of the play because he detested the character the man portrayed. However, the three different accounts that are presented of the same plot are never resolved or reconciled with each other. Each version is accompanied by a different style of folk music: the tune and rhythm of southern Kerala’s thampuran pattu, the pulluvan pattu and the ayappan pattu. The performers were drawn from the theatre and from Kathakali. In southern India, with its plethora of politicians using their film images to acquire inordinate wealth and power, Aravindan’s TV film bears on an eminently sensitive political as well as aesthetic issue.

Across a dirt road, the circus truck comes to a village. The tent goes up. Schoolboys run to the tent. Village women come and watch an acrobat roll a hoop across a tightrope. A lion leaps from the edge of one stool - across darkness - on to another stool. A gap-toothed old woman gazes at a goat on a tight rope; her eyes are wide with curiosity. For three days the circus makes small ripples in the life of this village. Municipal permits are required. At a toddy shop, a soldier befriends the circus strongman; a pump attendant sits on a rock each day watching a village girl bathe and dry her hair. The dwarf brings back to the circus a watermelon larger than his head. In the film's three days, we, the viewers, learn the geography of the village: the banyan treewith leaves like transparent film, the shining water, the light on the sand at sunset. When the circus leaves the village, it leaves us. The narrative says: The circus comes and leaves; life goes on.