In 1982, ‘Yavanika’ emerged as the premier mystery thriller film of its era, skillfully crafted by KG George, who handled the writing, scripting, and directing. The movie received accolades from the state government, earning recognition as the year’s best film, screenplay, and securing the second-best actor awards. ‘Yavanika’ stood apart from the conventional narrative style of that period, leaving a lasting impact on viewers’ minds. It was a cinematic work that skillfully balanced artistic presentation and storytelling.
The plot unfolds within the backdrop of a theater troupe known as Bhavana Theatres. The central narrative of the movie revolves around Ayyappan (portrayed by Bharat Gopi), a tabla player in the troupe, and the subsequent sequence of events triggered by his disappearance. Yavanika effectively employs the ‘Roshomon Effect,’ a storytelling technique that presents the story from the perspective of various characters. This narrative approach is also evident in other films such as Classmates, Palerimanikyam, and Kammarasambhavam.
Typically, drama-oriented films tend not to delve into the backstage aspects of a theatrical production. However, in Yavanika, the director adeptly portrays the meticulous process of conceiving each scene of the play behind the scenes. It was intriguing to witness how each actor momentarily transformed into a character within the play.
-Jagathy’s character is seen backstage, smoking a cigarette. When it’s his turn, he swiftly transforms into his role and steps onto the stage
– In a similar manner, Nedumudi Venu is seen reverting back from his character-
When examining the technical aspects of the film, it becomes apparent that the cinematography and music seamlessly integrate with the movie’s essence. For instance, in the song ‘Bharata Muni Uru Kalam varachu’ drums are cleverly used instead of the tabla to compensate for the absence of the tabla player, Ayyappan. Additionally, the film creatively employs changing camera angles within the same scene, depicting the perspective of two different characters.
The film’s music is orchestrated by MB Srinivasan, and the background music (BGM) effectively communicates the emotional intensity of each scene to the audience. Notably, the unsettling music in scenes depicting Ayyappan’s unruliness serves as a prime example. The cinematography is skillfully executed by Ramachandrababu. The manner in which Jacob Erali (Mammootty) interrogates each individual was likely a novel experience for the audience, setting this film apart from others of its time.
-The camera moves from Mammootty to Jalaja, capturing a flashback sequence, and then returns to Mammootty after the flashback-
-The camera angles shift when depicting the same scene from the perspectives of two different individuals.-
The camera positions are meticulously altered for every brief shot, creating a fresh and immersive experience. Likewise, the cinematography played a significant part in presenting certain scenes involving Ayyappan in a manner that truly surprised the audience. It’s worth noting that the acting performances of each actor should be mentioned laterThe portrayals by the troupe’s owner and actor Vakkachan (Thilakan), as well as theater actors Balagopalan (Nedumudi Venu), Joseph Kollappalli (Venunagavalli), Varunan (Jagathy), and Rohini (Jalaja), were outstanding, with each actor seemingly striving to outshine the others. The characters of Ayyappan (Bharat Gopi) and his son Vishnu (Ashokan) were particularly impressive, leaving the audience astonished by their on-screen presence and acting skills.
The most significant feature of the film is its editing, which follows a pattern similar to contemporary New Generation films. For example, when Jacob Erali (Mammootty) addresses his wife as Mr. Ayyappan, there is a cut to a scene depicting Ayyappan smashing the tabla. Another impactful moment occurs with a cut just before Ayyappan attacks Rohini, which is both intriguing and shocking. All of these scenes were created to push the boundaries of contemporary cinema.
The film’s editing was expertly overseen by M.N. Appu. Additionally, there are moments in the movie where Jagathy’s character engages in light-hearted banter with Mammootty’s character, providing a contrast to the struggles and difficulties of life. One of the dialogues in the film perfectly captured the sense of despair prevalent in the artistic circles of that era. Yavanika stands as a remarkable work of art, where technical elements, narrative, artistry, and performances all shine with equal brilliance.
