Sarath: The Questions He Asked, The World He Left Behind
Dear friend Sarath has
passed away.
Whenever I hear the
song that begins with “Oru Chempaneer Pooviruthu Njanamomale, Oruvela Nin
Nerkku Neettyille…”, written by Prabha Varma, composed and sung by Unni
Menon for the film Sthithi, I am reminded of Sarath. Whenever the song
played on the radio, I would tell him, “The first person I remember when I hear
this song is you, Sarath.”
We both firmly
believed that a film belongs, above all, to the person who writes its script
and directs it. Perhaps that shared conviction was one of the many things that
brought us close. Our conversations were never confined to cinema. We spoke
about art, literature, music, society and our professions. There was rarely any
awkwardness between us; conversations flowed naturally because we seemed to
share a similar curiosity about the world around us.
I first met Sarath
when I went to the Kalakaumudi office to meet Jayachandran Nair. Sarath
was working there as a journalist before joining the Information and Public
Relations Department of Kerala. Later, when I was working at the Kerala House
Information Office in Delhi, Sarath used to visit me regularly.
Those were the days
when he was working on Geethagovindam, a multimedia production for the
Indira Gandhi National Centre for the Arts, along with the eminent art scholar
Kapila Vatsyayan. It was an ambitious and magnificent project that brought
together many of the great names of the Indian dance world. Mohiniyattam, for
instance, was represented by Deepti Omchery.
Sarath's first film, Sayahnam,
established him immediately as a filmmaker of distinctive vision. It also
confirmed the influence of two important figures in his artistic journey—Shaji
N. Karun and Jayachandran Nair. Sayahnam created a different kind of
impact on the audience and critics alike. Just as Shaji N. Karun's Piravi
became a benchmark against which his later films were often judged, Sarath's
subsequent films too were inevitably viewed against the extraordinary standard
set by Sayahnam.
A single film brought
Sarath national and international recognition. The awards won by Sayahnam
were not merely a remarkable achievement for a debutant director; they were
also a recognition of a distinctive cinematic language. By dealing seriously
with the conflict between politics, the environment and human conscience, the
film announced Sarath's artistic vision with remarkable clarity. It won several
State Awards and earned Sarath the National Award for Best First Film of a
Director. It was also screened at international film festivals.
That questioning and
inquisitive mind continued to express itself in his later films—Sthithi,
Sheelabathi, Parudeesa, Buddhanum Chaplinum Chirikunnu and
Swayam. His characters were often people pushed to the margins of
society. Through his camera, Sarath explored the extraordinary pain, loneliness
and conflicts hidden within ordinary lives.
His creative interests
extended beyond feature films. He made documentaries on a variety of subjects,
including Kerala's mural tradition and Bhoomikkoru Charamageetham, which
brought together the poet O.N.V. Kurup and actor Kavya Madhavan.
The same inquisitive
spirit that characterised Sarath's films was also an essential part of his
personality. He had an openness to new ideas, a deep affinity for art, an
enduring curiosity about history and a persistent uneasiness about injustice in
society. All these qualities found their way into his creative work.
After joining the
Public Relations Department, Sarath made valuable contributions to Kerala's
cultural and literary life through his responsibilities at institutions such as
Vyloppilli Samskriti Bhavan and Bharat Bhavan. He possessed the rare ability to
pursue a demanding official career while simultaneously nurturing a deeply
creative life.
I remember one
particular project with special affection. When Sarath was Deputy Director of
Audio-Visual Communications, he wanted to make a meaningful documentary on the
poet and environmental activist Sugathakumari Teacher. He entrusted me with
writing the script. I prepared the script and submitted it, and it received the
approval of the expert committee for production. Sarath
wanted the renowned filmmaker K.P. Kumaran to direct the documentary.
Unfortunately, the project never materialised. Even in our recent telephone
conversations, Sarath would sometimes speak with sadness about that aborted
project. It remained a regret he carried with him.
Sarath is no longer
with us. But the world he observed, the questions he raised and the art and
culture he cherished will remain.When we watch his films again, we will see not
merely a director behind the camera. We will see a sensitive and questioning
human being who tried to understand society in his own way and express what he
saw through cinema.
All of us will
eventually pass away. What remains are the good things we have done for
society, the lives we have touched and the ideas and works we leave behind.
There is no doubt that
Sarath will continue to live through the films and documentaries he created,
the questions he raised and the memories he left in the hearts of those who
knew him.
Paying my heartfelt
tribute to the memory of my dear friend Sarath.
