RIFLE RANGE BOY: Urvashi

Ullozhukku (Undercurrent, Malayalam; 2024)

Written & Directed by: Christo Tomy

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Urvashi was a regular in many Tamil movies in the 1980s. She used to appear in many of the blockbusters, including those acted and directed by the multitalented Bhagyaraj. She went on to win many regional and national accolades. Then her appearance declined as demand shifted toward younger faces. She became choosy about her roles as she took a breather with family life and childbearing. She shone in whatever roles she took.

This movie is one such movie. It is a slow-moving but engaging one that keeps viewers on the edge of their seats, wondering how the problem will be resolved in the end.

Marriage plays a vital role in the Indian psyche. From a line in the Manu Smriti, often exaggerated by detractors, which equates an unmarried woman to the stones by the river being washed away. Many critical editions dismiss it as an improper translation. Modern Hindu laws do not follow this doctrine verbatim.

A peculiar thing about Hindu funeral rituals is that some steps are omitted when the deceased is unmarried. He or she is considered to have not led a complete life. Since the deceased is not one who surrendered to a brahmachari way of life, he is assumed to have not completed his householder duties.

In Tamil, there is a saying that goes like this. 'Tell a thousand lies to make a wedding take place' because the blessings of a successful union of marriage supersede everything else. Because of this, many marriages are arranged through marriage brokers through half-truth or the convenient erasure of negativities.

Anju is married off to Thomas Kutty. Anju's mother gets her married because of her entanglement with a Hindu man. Thomas Kutty is a sickly person who had a brain injury. He has epilepsy and needs frequent hospital admissions. His mother, Leelamma, seeks the help of a broker, with a full declaration of his medical condition, to find a bride. Somehow, the truth is suppressed and the wedding proceeds.

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Anju is shocked to find herself in a meaningless marriage. There is no intimacy. She essentially ends up being a nurse for her husband. In that situation, during one of her numerous hospital trips, she bumps into her ex-boyfriend. Romance is rekindled on the sly, thanks to the privacy of the mobile phone. Anju gets pregnant.

Meanwhile, Thomas Kutty succumbs to a fall. Anju's pregnancy comes to light. Leelamma is overjoyed, thinking it is her son's progeny which was germinating.

The village they live in is perpetually underwater, even after a short spell of rain. Thomas' funeral and burial are chronically delayed. In the interim, the story of the boyfriend and the love child comes to light. The rest of the story deals with how she deals with a likeable mother-in-law whom she had wronged, her own family, who is ashamed by her action and the father of the child, who appears more like a rolling stone that collects no moss and has his eyes keenly on Leelamma's property that she had willed to pass to Anju.

A nicely done film, minus all the wailing and melodrama associated with most Indian movies.