Sharada Ramanathan's debut film, Sringaram is a period film set in the pre-independence era, around the 1920s. The story centers on the life of Madhura, a devadasi and her patron Mirasu, a princely lord. According to the prevailing system in the village, Madhura becomes the mistress of Mirasu. Mirasu is married with a daughter. Yet the villagers treat Madhura with respect and love on account of her dancing prowess. Besides, she shows concern for them, like the instance when she presents the temple priest's daughter with her jewels for her marriage.
Arrogant and power hungry Mirasu treats the lower caste people with contempt. And this becomes evident at the panchayat meetings where he pronounces severe judgements upon them.When the English collector visits the village, Mirasu in order to please him tries to make Madhura a scapegoat. Not one to yield to his wishes, Madhura leaves the village forsaking all privileges she had until then as the temple dancer. Her companion Kama takes her place, who soon realizes her limitations and joins Madhura.
Again Mirasu's wife refuses to accompany him to the city preferring to stay in the village.
This film portraying feminism is a refreshing change from the stereotypical films that are churned regularly. Certainly it speaks of the director's self-confidence in choosing to tell a story like this.
About the cast, Aditi Rao Hydari, as the protagonist Madhura and then as her daughter Varshini, makes an impressionable debut. Manoj K.Jayan, a veteran from Malayalam films fits the bill of a prince. Y.Gee Mahendran reveals his adeptness in a serious role as the temple priest. One character that lingers in the mind is Kasi, the temple watchman who secretly admires Madhura. Shashikumar as Kasi is commendable.
Mention must also be made of Aiswarya as Mirasu's wife; she wears a quiet dignity around her.
Music by Lalgudi Jayaraman is appealing, while the visuals by Madhu Ambat are stunning. Saroj Khan's choreography blends the traditional with the modern.
This film garnered three national awards, for best music direction, best choreography and best cinematography.
Indeed worth a watch.
Arrogant and power hungry Mirasu treats the lower caste people with contempt. And this becomes evident at the panchayat meetings where he pronounces severe judgements upon them.When the English collector visits the village, Mirasu in order to please him tries to make Madhura a scapegoat. Not one to yield to his wishes, Madhura leaves the village forsaking all privileges she had until then as the temple dancer. Her companion Kama takes her place, who soon realizes her limitations and joins Madhura.
Again Mirasu's wife refuses to accompany him to the city preferring to stay in the village.
This film portraying feminism is a refreshing change from the stereotypical films that are churned regularly. Certainly it speaks of the director's self-confidence in choosing to tell a story like this.
About the cast, Aditi Rao Hydari, as the protagonist Madhura and then as her daughter Varshini, makes an impressionable debut. Manoj K.Jayan, a veteran from Malayalam films fits the bill of a prince. Y.Gee Mahendran reveals his adeptness in a serious role as the temple priest. One character that lingers in the mind is Kasi, the temple watchman who secretly admires Madhura. Shashikumar as Kasi is commendable.
Mention must also be made of Aiswarya as Mirasu's wife; she wears a quiet dignity around her.
Music by Lalgudi Jayaraman is appealing, while the visuals by Madhu Ambat are stunning. Saroj Khan's choreography blends the traditional with the modern.
This film garnered three national awards, for best music direction, best choreography and best cinematography.
Indeed worth a watch.
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