Piravi

Raghu is never shown in the film , Consequently one who sees the movie feels that Raghu can be his/her son. These type of stories are very common to SriLanka as well. I happened to watch this great film in 1992 but still I remember it mainly on account of the very strong script of the movie. Raghu's father's face expresses one billion messages . An actor like that would be hardly discovered .Raghu is the only hope of the family and is finally born in the mindset of the father . Rain means the tears of the father. These type of films must be demonstrated in all over the world specially in SriLanka. Devaka S. Jayasuriya 90, Old Kesbawa Road Nugegoda.

Movie made truly from the heart.. i really felt the rain poring over the river ,falling direct from my eyes. Shaji did excellent job. The tiniest details of sound shows the quality of the movie making. Really excellent master piece.

I like to watch this, how can i get this.ach19642@hotmail.com I watch this may be 15 years a go. it's relay made from the heart. this is always happen in developing countries.Move never show the "rajan" but i feel i always know him. The movie is inspired by the 'Rajan Case' that occurred in Kerala during the time of the emergency in 1978. The Chief Minister of the State attended a college function where a boy sang a song against him. The boy was caught by the police, brutally tortured in the police station where he died. After the Emergency, the boy's father filed a case against the government thus sparking off a big debate.

A few days ago, Shaji N. Karun, the acclaimed Malayalam filmmaker, passed away. Before venturing into direction, Shaji had already established himself as a gifted cinematographer, collaborating with the legendary G. Aravindan on several of his notable works. I vividly remember watching Shaji's Piravi (The Birth) years ago - a film that left me utterly spellbound. Yesterday, I felt compelled to revisit it.

Imagine this: an elderly father, full of hope, sets out to receive his son. He boards a local boat to cross a river, walks a long, arduous path to the bus stop, and waits endlessly until dusk for his son who never arrives. With heavy steps and a heavier heart, he retraces his journey back home in the same weary manner. The agony of anticipation lingers, much like Hachiko, the loyal dog who waited for his deceased master, unaware of his fate. In both stories, the impossibility of reunion transforms love and longing into quiet desolation and a slow, irreversible decline.

Piravi is said to be inspired by the real-life Rajan case - a tragic episode during India's Emergency period in the late 1970s. A young student in Kerala, accused of dissent for singing a protest song during a Chief Minister's visit, was taken into police custody and never returned. While the film's political commentary remains understated, the focus lies on the personal tragedy - the father's anguish, his desperate hope, and the carefully concealed horror of the truth, shielded from him by those fearing his heart would not endure it.

Interestingly, Shaji's narrative style in Piravi echoes the approach of Mrinal Sen, whose films like Ek Din Pratidin, Kharij, and Khandahar also feature an absent central character - a presence felt through absence.

Visually, Piravi is exquisite. Shaji captures Kerala's lush, rain-soaked landscapes with an artistry that contrasts nature's serenity against the bleakness of human suffering. The incessant rain becomes a powerful metaphor for the father's inner torment, a reflection of grief that seeps into the very earth of God's Own Country. Premji, portraying the father, delivers a performance of remarkable restraint and poignancy, his face a canvas of silent suffering.

Piravi remains a rare cinematic gem - a film of haunting beauty, moral courage, and deep human empathy.

Rating: (4.5/5)