It is not when one makes a mistake, but only when one knows the mistake made, that one becomes guilty. Man is a species that has trained itself to live according to society and the law by subduing the instinct to live as it pleases. What is wrong and what is right? Who decides this right and wrong? Who has the power to find, correct, and punish wrongdoing? Vinoy Thomas’s story ‘Criminals in Kaligaminar’ and Lijo Jose Pellissery’s film Churuli are a continuation of the same questions that have always been part of society. It is the story of a man who, when the situation is favorable, emerges with no loneliness. Those who have learned to cope with the changing circumstances. In short, most of us are curlers who are doomed to live off the curl. While the film discusses the law and justice that blindfolds some and opens its eyes to others, the main discussion on social media is about the ‘teri’ that the film speaks of.
Vinoy Thomas, while transplanting a case-sharing experience shared by a police officer named Jose Joseph into the world of storytelling, had exactly the water and fertilizer needed for its growth. In the reading of the story, a forest and a land within the forest grew in the minds of the readers. Lijo Jose Pellissery in the movie Churuli brings these scenes to the forefront of the mind, accompanied by myths and folklore. Yet the story and the film leave the audience with the opportunity to enjoy the film and read the story as if it were something new after enjoying the film. The. Harish scripted the movie.
Vinoy Thomas, who created the world of criminals in Kaligaminar, opens his mind about story and film –
Those who say ‘Teri’ and those who only say about Teri
People discuss things they like. We talk about it because we like Teri. If most people liked the possibilities of the art in it, if they liked the enjoyment of the film, if they liked its technical quality, if it liked the philosophy of the ideas put forward by the film, it would be the main discussion. But we do not like it. What we need to understand from that is that we want to discuss ‘Teri’ rather than philosophy. That is the essence of cinema. I think there is no problem with that discussion. Let people discuss what they like best.
There are even complaints that we didn’t catch Teri’s variety. Let the community discuss what they like as each piece of art goes down. That is my opinion.
What the movie wanted to say was that people went unheard
The politics of cinema is engulfed in controversy. It seems to me that there is no change in society just because politics is told through a movie. Because the authorities are always committing crimes. The state will continue to commit crimes and it will continue to be justified. Our society will not change with a single movie. However, Lijoy, who is also the director of the film, also worked as a screenwriter. Harish and I, who wrote this story, were able to call out that we know the discrimination of this justice. It can be said that society understands exactly what is being said about the state and about justice and law. That’s what any artist can do. So the reality is that nothing will change. There have been so many good works of art before, and what topics have been pointed out. Rather than being a change, the film only serves to show that the artists who have lived with society are aware of the justice system of society, of the problems facing society, and that we care about all of this. The success of this film is due to the fact that it was boldly done by Lijo Jose Pellissery.
The film does not need the cost of writing a story. The film has more financial side than anything else .. Lijo has shown the courage to tell such a story by spending so much money.
‘Is it special for you to say’ you ‘? Nothing. Are you just a bunch of other people? ‘
Vinoy Thomas, the beloved Malayalam story writer, was with the crowd at Churuli. Became one of the crowd, a lone scroll. The narrator shares his experience of going to see the shooting–
‘When I was told to go see the shoot, I went to see it. This is the first time I’ve seen a movie shooting. So I became part of the scroll too. We have nothing to do there. We do something out of our lives. ‘
People’s figure is very important. People who are quickly noticed. I have had many experiences in my own life. If there is a commotion we will get hit quickly if we have a good figure. But you have to see me as a crowd. No one will notice a person who does not have such a figure and looks normal so quickly. I’m the one who makes the noise, but he’s the one who gets a little bit to see. It is a characteristic of the crowd. Attacking someone who has a lot. That’s why a crime story says that the crime squad catches people who are not in the police force.
A story is a thousand views
The scroll movie was one for everyone. A story that weaves itself within the viewer according to the imagination and experiential environment of the viewer. If one was taken from the aisle of the story, it was a thousand scattered arrows when it touched the arrow of the movie. Lijo Jose and S.K. Vinoy Thomas says that it is a folk concept added by Harish –
Harikatha, the current folk in Karnataka, is in the backdrop of the film. It has never been used in Malayalam cinema before. Harikatha is a folk art form that combines story and poetry with the original form of storytelling. Many such folklore elements have been brought into the film.
The film adopts a narrative style that combines Western folk with the popular folk concepts of Madan and Marutha. It is said that the greatest potential of folk art is the space for interpretation. Each myth can be interpreted by the viewer to their liking. This is the nature of folk art. With each folk myth comes a lot of interpretive possibilities. The change I saw when I went from story to film was that myths popular in our country and European myths were used very well.
Though the discussions started by Churuli are not over, Vinoy Thomas is retiring to the next movie.
Content Summary: Writer Vinoy Thomas speaks on Churuli movie