Sivaranjiniyum Innum Sila Pengalum Movie Download Kuttymovies 1080p: The course of life goes differently for three middle-class women who make many sacrifices to survive in a patriarchal world.
Sivaranjiniyam Inum Silla Pengalam begins with an image of the unchanging sea. Vasant’s compilation of three short stories based on stories written by Ashok Mithran, Adhavan and Jayamohan shows that the lives of women across decades and social classes remain the same. And as the waves keep hitting the shore, so their labor never stops.
The first film is set in the ‘80s, and revolves around a lower middle class couple, Chandran (Karunakaran) and Saraswati (Kalieswari Srinivasan). After attending a function, the two of them return home with their baby.
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It just isn’t done! How can an anthology be so extraordinary about women who are so ordinary? Sivaranjiniyam inum sila pengalam is an experience that cannot be described in words.
Words are meaningless in the eyes of writer-director Vasant about what it is like to be a housewife in an average Indian marriage. The three female protagonists rarely speak. Men do everything.
Chandran walks ahead while Saraswati lags behind, struggling to keep up. She holds the baby in one arm and carries bags in the other. It’s a familiar sight on the streets, mothers managing their children all by themselves while the fathers look like they have nothing to do with their offspring.
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In the first of the three sharply evocative, deeply ruminative stories we see a very ordinary woman evidently from an underprivileged section, walking behind a self-empowered man who strides imperiously ahead of her.
She carries a baby in one hand, and a jhola in the other. As they reach a bus, the man climbs, uncaring about whether the wife has also boarded.
The woman, who we later come to know—much later—is named Saraswati (played with an exceptional self-obliteration by Kalieswari Srinivasan who was outstanding in Jacques Audiard’s Palm d’Or winning French film Dheepan).
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The gaze of the camera, however, forces the viewer to look at the scene once again with a more critical eye. Can we continue to pretend that this is domestic bliss? The ideal that women are taught to aspire for all their lives?
Karunakaran, usually seen in comic roles, is the picture of indifference in Sivaranjiniyum. He has nothing to say to his wife other than dish out abuse and blame.
Saraswati clearly lives in terror of her husband’s outbursts and yet yearns for his approval. She bears it all as her due but when she forgets herself for a moment and questions his authority, Chandran cannot take it.
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In the first short as well as the last, the camera follows the women as they go about their day — working, working, working. They are constantly in the business of caring for everyone in the family but themselves.
In the second short, featuring Parvathy as Devaki, the woman makes some time for herself to write down her thoughts in a diary but that becomes the centre of controversy in her marital home.
Though it’s only now that the film has come out on OTT, it began production in 2015 and has done rounds in festival circuits since 2018.
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It is, therefore, a precursor to Jeo Baby’s 2021 film The Great Indian Kitchen, which also focuses on women’s unending labour and the drudgery of it.
Saraswati’s story is so commonplace that we would not even talk about it. That a film captures her catatonic miserable life, is a miracle.
This film is a marvel of nature, unique in its commonness, exceptional in its unsentimental perspective of housewives who make sacrifices with every breath they take.
The handheld camera(N. K. Ekambaram) quivers precariously at times. It is the most emotional component you will encounter in this remarkably dry-eyed tragedy. Each of the three women is felled by the musk of masculinity that shrouds them in marriage.