Theeviravaathi: The Terrorist

Santosh Sivan, best known for directing a spectacular historical saga "Asoka," directed this Tamil film. Storywise, the film is similar to "Dil Se," also cinematographed by Santosh Sivan. The story delves into the psychological dilemma of a young girl, training herself to be a suicide bomber. With the minimalist dialogues and twists in the story, the film just moves tautly. The acting of Ayesha Dharker is perfect, and the photography is mesmerizing. Avoiding the Bollywood gimmicks and songs, the narration and the photography carry the film to a stupendous level. Perhaps, unheard and unwatched among the Bollywood lovers, it takes an Indian story to the international cinema, which "Dil Se" fails to do.

Rating: 2 stars out of 4

"The Terrorist" is a non-violent film about violence and the subtlety of its camera work and overall direction might remind you of a travelogue rather than a searing drama about political fanaticism. The film takes place in India and yet we don't have any information on what the conflict is nor do we see the rebel leader whose hand controls all the subversion. That really isn't important but what is important is studying the assassin, Malli, who has so many close-ups that it border on obsession as the filmmakers try to reveal the conflicts she has to resolve in her mind, from her eyes blinking at the drops of rain to her face to face encounter with her lover soldier to her final makeup before meeting her destiny. Three men reveal themselves to Malli at pivotal points and the film underscores it with a technique of keeping the background unfocused until it is called for - the lover soldier who sees Malli as an obscured vision, the boy Lotus who stands too late to see his fate, and the VIP as he is greeted by the young women. Never are explosions seen nor direct killings exposed, we only hear gun shots or the splatter of blood on the murderer's face or the bloodied machete. The film seems to tip its hand by introducing the likeable 'Mad Vasu' and his comatose wife with her outstretched hand of comfort but, in truth, we had no way of anticipating the ending. You might want to compare "The Terrorist" to "Day of the Jackal" or even "La Femme Nikita" but such comparisons would be unfair. "The Terrorist" is a much better film because it allows the audience to unravel the mind of an assassin, in isolation, without the prejudice of killed bodies or self-serving violence. "The Terrorist" is a powerful adventure into the lonely paths of the human soul.

The movie is about a girl who is sent on a mission to assassinate a VIP by becoming a human bomb. It can be related to the assassination of Rajiv Gandhi, former Prime Minister of India. A notable fact is that no where in the movie is there a mention about the roots of the girl nor who the VIP is. It rather narrates the incidents that occur from the time she is chosen on this mission.

The movie has wonderful cinematography by Santosh Sivan and good performances by all the artists. All the artists were very natural making the movie more realistic.

The unconventional ending has done justice to the narration.

This movie should be seen, if for any other reason than to see a story told with minimal dialogue. The script couldn't have been more than 30 pages. Great visuals, and great acting using expression and editing. The only problem is that the ending should have been cut by about 5 seconds. Once you see it you will know what I am talking about. With little dialogue I was suprised how enthralled I was. I never once remember feeling like the movie should move faster. Worth a view.

I am writing this review after the horror of Tuesday 9/11/2001. All of us have wrestled with the question of how and why would someone commit such an atrocity believing that their act was blessed and sanctioned by God Almighty.

As I asked myself this question I remembered this movie. I remembered the beautiful vulnerability of the face of Ayesha as she struggled with her decision to become a suicide bomber to seek justice for herself and her people after she discovers that she is pregnant.

Ayesha is able to telegraph every nuance of her thought and emotion as the camera slowly, painfully examines every pore of her skin, every lash of her dark, liquid eyes. While the premise of the film is fundamentally simple, by the time the film is over the sacredness of life and wrenching paradox of its questions has been intimately explored. As raw as birth itself this film is a rare piece of poetry.