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Musings on a timeless addiction
AS A school student in the sixties the ultimate treat was being given permission to see a cinema. Memories of the earliest films seen still linger in the subconscious like a haunting melody. The excitement of the chariot race in Benhur, wonder at witnessing of the parting of the seas in Ten Commandments, surprise at the number of currency notes stitched into the patches of Bahadur's Kandam Vacha Coat, the inexplicable fear that was generated in my mind at seeing Sivaji Ganesan singing `Ponaal pokattum poda... ' in the setting of a cremation ground, the desire to own a pair of shoes fitted with `flubber' invented by the Absentminded Professor, the breathtaking beauty of the Austrian Alps in The Sound of Music, laughing, till tears streamed down while watching Chitty Chitty Bang Bang.
By the seventies, with the arrival of teenage, permission to see films was no longer the criteria though; having the required price of admission was a major deterrent. Mouthing the dialogues of George C. Scott in Patton at the least provocation, squinting one's eyes in imitation of Clint Eastwood, as seen in his much seen and admired Dollar series, practicing the quick draw like the hero of The Pistolero of the Red River, humming `Rain Drops Keep Falling on my Head... ' from Butch Cassidy and the Sundance Kid, enjoying the spicy and very naughty humour in Buena Sierra Mrs. Campbell - the early seventies passed by.
At this period a new addiction crept in -Hindi films. Aradhana, Hare Rama Hare Krishna, Anand, Bobby, Zanjeer, Amar Prem, Namak Haram, Guddi, Parichay, Abhimaan, Abhinetri, Sita aur Geeta, Yadoan ki Baraat, Sholay - a host of good, bad and indifferent films, yet, each one viewed and discussed with the greatest of relish. The seventies also saw the rise of interest in Hindi film music. Personally, it is still a strong belief that the most melodious and memorable of Hindi songs were composed during this period. Falling hopelessly in love with Dimple Kapadia, failing miserably in trying to imitate Rajesh Khanna's mannerisms, walking lopsided like Dev Anand, hoping to be as macho as Dharmendra, the seventies also passed by.
In between English and Hindi film viewing, Malayalam and Tamil films were also given equal importance. With films like Chattakari, Eetta, Ulkadal, Avalude Raavukal etc. in Malayalam and the memorable films in Tamil like Apoorva Ragangal, Arangetram, Sivappu Rojakkal and the like it is still a matter of wonder that one found time to study after all the time spent in watching these films.
During the earlier period, the cinema going experience and the thrill was not restricted to just watching the film. The build up of anticipation from when the decision to see the film has been taken; the pleading, the machinations, the sacrifices - to raise the money to see the movie; looking forward to the interval, in pleasant expectation of gorging on masala peanuts and drinking the tongue tickling lemonade; viewing the newsreels of the Films Division, which was the only means of seeing footage on the cricket Test matches being played by India, or such other national or international happenings; and last but not least, standing up ramrod straight and full of patriotic fervour while the National Anthem was played at the end of the show and frowning with displeasure if someone so much as moved or displayed their unpatriotic inclinations by leaving before it ended.
Time flew by. Priorities of job and family matters took precedence over visiting cinema halls. The occasional film seen in theatres was seen more out of interest in passing time, especially at places with no other means to spend the evening. Videos and later VCD's also gave the option of watching films from the convenience of one's home. Yet, that old addiction to cinema halls did not let go totally.
K. BALAKRISHNAN
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