The final part of Pasolini’s Trilogy of Life series is rich with exotic tales of slaves and kings, potions, betrayals, demons and, most of all, love and lovemaking in all its myriad forms. Mysterious and liberating, this is an exquisitely dreamlike and adult interpretation of the original folk tales.
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Balaraju, the head of his village, lives with his wife Baby along with his two sons Chandrasekhar Rao and Bangari and two daughters. He helps Chandrasekhar become a doctor and builds a local hospital. On the day it opens, Chandrasekhar comes back home with his lover Kausalya, also a doctor. Both express their wish to marry and settle abroad, which upsets Balaraju, leading to their separation. 25 years later, Chandrasekhar, a successful doctor in London, tells the story to his son Abhiram and daughter Indu. Abhiram decides to go home to Balaraju and attempt a reconciliation. He meets his friend, Bunny, at the airport and goes to the village on Bunny’s bike the next day.
Indraneel’s sudden death averts a possible divorce, and takes Radhika on a fantastic inward journey of discovery of her own roots through the language of poetry, and lost love. A publisher asks Radhika to complete Indraneel’s works. This compels her to study his work, and thus begins her journey into the past. She realizes how much he romanticized their mundane, everyday life. Yet in reality, he was often insensitive, negligent and apathetic towards her. She wonders about his dual identity. How can a poet be unaware of his day-to-day realities, yet highlight moments from it in his art? Is art essentially an artifice?
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