Vanaprastham - La dernière danse

One of most colourful movie carried all along by Mohanlal. ably supported by Suhasini. an intricate emotions surrounding the central character's role. Its a slow developing movie which takes you till the end to realise the gravity of the action of the Main protagonist. The Director shines with his creation and how society has shaped the characters face.

Just watch it for his eyes...and that's enough reason.

Fantastic movie. Mohanlal acting in this movie is probably the best in the world. The intensity through his eyes are phenomenal. He is the God of Acting. A must Watch film. It is a masterpiece.

Vanaprastham (1999) : Brief Review -

A supreme legacy of Mohanlal blends mythology with an amazing art form but fails to condemn the infidelity. Vanaprastham is a rich experience overall, actually it is one step higher than what we deserve in late 90s and therefore it deserves that fan following. But the fact that the film being too specific about Mahabharata's ideology where having an sexual affair outside arrange-marriage is termed okay is totally absurd. I am shocked to see many critics and movie buffs not mentioning this ridiculous factor anywhere in their reviews. Additionally, it is linked to Mythology then i guess it deserves even more bashing than what I've just done. In a film we see an illicit relationship between a Kathakali dancer and a young woman from an upper caste family resulting in an illegitimate child. He faces hardships when she refuses to let him see their child and then seeks for ultimate salvation. Isn't it a big joke that he seeks salvation for his own mental peace and not for his sins? How ethical it was from the woman's side to hid the child from his father for her own mistakes and how etihical it was from his side to have this extramarital affair and not feeling sorry when he's living with his wife and a daughter? This part didn't make any sense to me even if i assume historical references of Arjuna and Abhimanyu. Come on, this was 1950s and you don't apply Mahabharata theories here. Thankfully, Vanaprastham is blessed by Mohanlal's legendary performance and Shaji Karun's skillful direction. These two overtake the weak writing and makes Vanaprastham an absolute cinematic experience of poetic proportions. Overal, Vanaprasthan has absurd theories to tell but Mohanlal's acting and Karun's direction have saved the ship from sinking. A very good attempt to bring new modulation in Indian Cinema of late 90s.

RATING - 7/10*

By - #samthebestest.

Is a beautifully and articulately cinematographed formalist piece of drama that does the Indian tradition of melodramatic film proud. It is a film of mirrors ..where the strict defined roles hold up a mirror to undefined, imperfect humanity with no answers...and no questions.Where formal Indian dance(kathakali) holds up a mirror to classics so perfect that humans define themselves in the melodramatic masks of epics. and formalist concepts of art, such as truth, nobility and beauty defines themselves into the drama in such a way that what is left for humans that wear the masks is only weakness, bewilderment ...duty and weariness.

The film is structured as a set of pure cinema (and minimal and melodramatic) events intercut with Kathakali dance performances that reflect the basic emotional drama underlying the scene. The director makes sure that we understand that this is no mere narrative device. the characters in the film don and disturb the masks and makeup of characters in the play...and in myth easily as if they have a very blurred line between present time and fictional reality.

Wwe end up looking for the truth in reflected, broken mirror fragments, reflecting it off one another- one side colored with formal myth, the other with minimalist melodrama. The failing of the film is in its certainity that objective truth can be found in art (it is by no means certain...we are all,IMO, and to quote newton , just children playing in the sands of time amusing ourselves with the discovery of a colorful shell here and there...). The tension with this film is that it succeedes as the formalist art that it critiques , thus, holding a mirror unto itself.