Kanasembo Kudureyaneri (2010) (Riding The Stallion Of A Dream)
Girish Kasaravalli
Kannada
Girish Kasaravalli’s Riding the Stallion of a Dream (2010) is something of a blast from the past, specifically from the Indian parallel cinema of the 1970s of which Kasaravalli himself was a part (This regression in time might just be the point of the film). Like most films of that period, Riding has a keen sense of class politics at work in the hinterlands of the country (There is nothing very specifically 21st century about the script, except for the mention of factories buying farmlands). Furthermore, it embraces the typical aesthetic characteristics of the movement with its use of a traditional, downbeat soundtrack, its penchant for naturalism and, particularly, darkness and its employment of dubbed sound. But more importantly, it retains the optimistic belief of the age that change is indeed possible (even though Kasaravalli’s proposed means of change is much less romantic and much more grounded). However, unlike its predecessors, Kasaravalli’s film is unwilling to overlook the human elements comprising the class struggle. Indeed, this is where the script’s Arriaga-like structure is really put into good use. The film is essentially divided into four segments which alternately present reality as seen by Irya the village gravedigger and his wife Rudri and reality as seen by the son Shivanna and the daughter-in-law Hema of the recently deceased village elder (among other elites). Predictably for a film that deals with multiple classes, Riding is full of ironies small and big. The pristine corridors of the elder’s house are contrasted with the dilapidated interiors and streets of Irya’s home and neighbourhood. Shivanna and Hema are almost always seen trapped inside the claustrophobic villa, which is suffused with the stench of the rotting corpse of the village elder that reflects their moral decay, while the gravedigger and his wife are seen in glorious long shots traversing the wide open spaces and flower farms of the village. The death of the patriarch (whose body has to be forced to a sitting position and whom his son will be taking over from) spells doom for Shivanna and co. while it’s Rudri (there’s even a direct reference to her as Irya’s surrogate mother) who takes to herself to reconstruct her husband’s life. Revealing the old man’s death helps affirm Irya’s dream while it would shatter Shivanna’s and contrariwise. In both camps, it is a blind faith in God and religion that serves to preserve status quo. There is considerable tweaking of the mise en scène – especially in the lighting and actor blocking – as well that aids to emphasize this tug of war. Kasaravalli provides us almost exactly one half of the truth in each segment, leaving it to the subsequent or preceding segment to complement it. A simple shot from a particular segment finds its corresponding reverse shot in only the next segment and vice versa. Each of these couples in the story wants to lead a better, more dignified life, as defined by their social classes. Like the audience, these couples are unable to see what lies on the other side of the hedge and how their seemingly independent plans might affect the other. There is no moral dilemma that they see in their actions. This way, Kasaravalli calls into question the perceptibility of the class structure itself and, subsequently, uses his art to provide us that critical distance from reality which is required to understand it in totality. As a result, the characters in Kasaravalli’s film are not (save for a touch of contempt and sympathy the upper and lower class characters respectively receive from the director – a possible residue of the parallel cinema of yesteryear) class abstractions or oversimplified monsters and victims. They are both individuals with choice and products of their classes (Irya blows his money on alcohol and loafs about regularly, Rudri is a casual thief and some of the landowners in the village do genuinely care about Irya’s condition). Only that each of the couple wants to ride off on its own dream horse and in a direction that it wants. But what both don’t realize is that the horses are tied to the same chariot.
(Image Courtesy: Goethe Institute)
August 23, 2010 at 10:00 am
Brilliantly visualized piece of a film I’ve never heard of, much less seen. The class politics and the role of religion are what seem to be the most fascinating aspects.
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August 23, 2010 at 10:03 am
Thanks Sam. I saw the film at its world premiere here. So it’ll take about a month or so to make it to the other festivals.
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August 25, 2010 at 2:30 pm
I’m always learning when I come here, JAFB – not just about film but the cultures that bear them.
I’d never heard of the language Kannada and that’s taken me on a linguistic journey.
“Only that each of the couple wants to ride off on its own dream horse and in a direction that it wants. But what both don’t realize is that the horses are tied to the same chariot.”
A brilliant image.
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August 26, 2010 at 7:37 am
Thanks for reading, Stephen. India is made of so many languages, that the mere language count makes your head spin. Now only if good movies were made n all these languages!
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August 25, 2010 at 2:50 pm
“But what both don’t realize is that the horses are tied to the same chariot.”
A must see from your description and sums life up to a “t.”
Thanks and Cheers!
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August 26, 2010 at 7:38 am
Hi CM, I’m not sure if the film is as rich as life, but t sure does attempt to present it in its entirety.
Cheers!
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August 27, 2010 at 2:33 pm
just a fantastic ending line you’ve thrown in here…really elevates the interest levels towards the film
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August 27, 2010 at 3:22 pm
Oh, do see it when possible. It’s one of the better Indian films I’ve seen this year.
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December 30, 2010 at 1:44 pm
Wonderful review. Saw the movie yesterday. Liked it . But dint understand the climax correctly. Could you please add light to what the director was trying to convey?
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December 30, 2010 at 6:34 pm
Thanks Vivek.
This is what the director himself had to say about the ending in the Q&A after the film. Irya finally realizes that he need not live under the mercy of the landlords. Despite their repeated attempts to suppress them, Irya and Rudri still continue and dare to dream.
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March 13, 2011 at 5:34 pm
[…] Kanasembo Kudureyaneri (Riding The Stallion Of A Dream, 2010) […]
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October 27, 2011 at 12:08 pm
Loved the way you have written this review, and the Movie, it was just brilliant, No superstars, but truly a winner. I am a fan Girish Kasaravalli.
It’s also an open ended movie, like Girish’s Earlier works. He made a comedian(Vaijanath Biradar – Irya) into an actor.
I feel very sad for the box office collections. People are behind Commercial movies, without realizing what could happen for Artistic movies, makes me sad, but cant help.
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May 6, 2013 at 12:24 pm
WHERE CAN I SEE SUCH FILMS IN MUMBAI .PLEASE NAME SOME THEATERS.
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July 8, 2013 at 1:36 pm
Hello Abhiji: This movie was released couple of years back, I don’t think it is still showcased. It is available for sale on flipkart:
http://www.flipkart.com/kanasembo-kudureyaneri/p/itmdaygs5dch2vum?pid=AVMDAYG9YXAPGKQQ&ref=afc2d234-75e8-4be0-93b3-fc03f2448454&srno=t_2&otracker=from-search
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