Aami Story: The film mainly deals with two relationships that the author had – with the husband and after his death, with a suitor of a different faith.
Aami Review: Is love an emotion that develops in an individual over the teenage years and dies a pure death with marriage? Is it one thing that you really should only feel toward a particular person from the alternative intercourse? Is it a thing that is limited by age, religion or different social norms? Or is it like a river that flows from beginning to end, seeking a sea to succeed in the pinnacle of fulfillment?
Kamal bravely explores this during these occasions of uproar by recounting the breathtaking and rarely breathless life of Kamala Das through his film, Aami. Even more than once, the filmmaker has his protagonist claim that what she wrote in My Story, in addition to her various literary works, are her life experiences, enriched with creativity. The same is, of course, true of this cinematic tribute, which nevertheless strives to remain faithful to all the essential occasions of her mercurial life. The filmmaker’s intervention seems to come mainly from the character played by Tovino – her muse Lord Krishna who may be her conscience.
Although the director moves forward and backward in time as he depicts this exciting story of a recent and complicated character, the story is essentially simple and straightforward. He begins his story by tracing Madhavikutty’s literary lineage and recreating a bygone period. The story shifts to Kolkata and Mumbai as she grows up. Malavika skillfully plays the 15-year-old bride who marries Madhava Das, who is 20 years her senior, while childhood is brilliantly introduced by a toddler actor. Manju Warrier takes over after the couple’s first child is born.
If the first half is all about the love-hate relationship between Kamala and Das, which the poet herself has made famous through her all-encompassing autobiography, the second half features her controversial relationship with a Muslim lord performed by Anoop Menon. Starved by childhood affection, due to a non-demonstrative mother, and prolonged procrastination by the husband’s uncooked masculinity, the floodgates of romance are thrown open, confronted by the adoration that this admirer has attached to her. She converted to Islam because of him.
This episode of her life, while well known and talked about in a quiet tone, was by no means really documented for posterity, except perhaps casually talked about by some writers and journalists. It is that daring activity that Kamal undertakes, fully realizing that it is fraught with danger. He changes her lover’s title, but goes the whole hog by showing that it wasn’t just on the platonic degree.
He also reveals how the gifted poet was caught between common forces and forced to do things that didn’t agree with her heart. There, perhaps, lies the message from the filmmaker who himself stood on the receiving end of such extremists.
Performing yet another competent act, Manju comes to the event by properly imagining the varied moods of the love queen of Malabar. But the poet’s followers and acquaintances are probably not completely satisfied with the overt make-up, the predominant Valluvanadan slang and the screeching laughter that accentuates her dialogues.
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