FOUR FRAMES feat. WATER

Importantly, “water” resembles and symbolises coexistence of life-and-death; an element which played a crucial role in evolution. While in religious context, it plays a form of purity (Hinduism) and baptism (Christian) – at the drop, it’s a mere transparent natural element which sprouts numerous portrayals.

Here, the following four frames feature water in different context:


SAIRAT (2016) | Dir. Nagraj Manjule | DOP. Sudhakar Reddy Yakkanti

And a new dawn strikes. The ocean of love looks ravishing before the waves turn turbulent and the love turns into a wild venture.


BEFORE THE RAINS (2007) | Director & DOP: Santosh Sivan

Santosh Sivan’s exquisite photography adds a tranquility as it juxtaposes upon the anguish of the characters. Lush-green film reigns in the conflicted morality of a man caught in a tragedy, often overwrought and lacking emotional substance but it’s about scenery. Water as a scenic element resembles the coexistence of the two distinct beings as they physically become one, (SPOILER ALERT) it hints as life-changing modes of: Henry Moores’s life and Sajani’s bloodbath.


KILLA (2015) | Director & DOP. Avinash Arun

In an unaccustomed region, Chinmay needs to sail smoothly in unknown waters. There’s an enticing as well as threatening water motif utilised in the most effective way – afraid of sea, Chinmay needs to face the challenging waters a.k.a life. Shot in drenching monsoon where grey and blue colour scales add atmospheric elements to swollen and pouring anxiety.


BAJIRAO MASTANI (2015) | Dir. Sanjay Leela Bhansali | DOP. Sudeep Chatterjee

There’s an erotic moment where Bajirao pours water over Kashi’s head in an early scene of Bajirao Mastani – there’s an explicit hint of fire and water metaphor in the love triangle. Mastani is most of the time seen with water, also Bajirao dies in water – he also recalls “bewaqt ki baarish” in the pre-climax. Mastani (Water) extinguishes Kashi (Fire) from Bajirao, isn’t it? Sanjay Leela Bhansali is master of the frames and they sometimes speak better. Towards the end, we see Kashi extinguishing the lamp (and the relation), which she was happily lighting in the earlier scenes to welcome Bajirao.


Copyright ©2019 Ninad Kulkarni. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.

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