Let's delve into the fascinating story behind the restoration of a hidden gem from Indian cinema, 'Amma Ariyan', and its journey to the prestigious Cannes Film Festival.
The Odyssey of 'Amma Ariyan'
'Amma Ariyan', a 1986 Malayalam film, is more than just a movie; it's a testament to the power of collective filmmaking and the enduring legacy of its director, John Abraham. The film's restoration is a tale of perseverance and a labor of love.
Unraveling the Rights
The first challenge was obtaining permission to restore the film. Unlike typical studio productions, 'Amma Ariyan' was a grassroots effort, funded by villages and produced by a movement. This unique origin story meant that the rights were held by the Odessa Collective, a group co-founded by Abraham. Tracking down and reuniting the collective's members was a Herculean task, but it was a necessary step to ensure the film's preservation.
A Search for Original Materials
Once permission was granted, the search for original materials began. The team, led by Shivendra Singh Dungarpur of the Film Heritage Foundation, scoured the FIAF network and found only two 35mm prints at the National Film Archive of India. No camera negative or original sound recording survived. This scarcity of materials added an extra layer of complexity to the restoration process.
The Restoration Process
The unsubtitled print became the primary source for the restoration. The subtitled print was used to fill in gaps, but the embedded titles presented their own challenges. Over 4,000 individual interventions were made on the audio alone, addressing various issues like noise and dropouts.
Preserving Artistic Choices
One of the most intriguing aspects of the restoration was the discovery of John Abraham's deliberate choices regarding foley. Abraham opted for silence in many scenes where conventional filmmakers would layer in sound effects. This decision, confirmed by editor Bina Paul, was a conscious artistic choice to let the visual image create its own interior noise. Dungarpur's team honored this choice, understanding that it was an integral part of the film's aesthetic.
A Philosophy of Preservation
The restoration philosophy for 'Amma Ariyan' was one of preservation rather than correction. The film was shot in black and white under challenging conditions, capturing the grain of available light and the roughness of the locations. Abraham drew from the cinema verité tradition and the influence of Cuban and Indian filmmakers like Ritwik Ghatak. These influences, along with the handheld instability and textural grain, were considered signatures of the film's style and were carefully preserved.
A Filmmaker's Legacy
John Abraham's work is a rare blend of documentary and fiction, a road film, and a political elegy. His films were not just artistic expressions but acts of resistance and love. Abraham made only four films, yet his impact on Indian cinema is profound. His work continues to resonate with audiences, as evidenced by the screening requests from South America and beyond.
A Celebration of Indian Cinema
The Film Heritage Foundation's efforts have brought restored Indian cinema to Cannes for five consecutive years. 'Amma Ariyan' joins a prestigious list of films, including works by Satyajit Ray, Shyam Benegal, and others. The foundation's dedication to preserving and showcasing Indian cinema has earned it a permanent membership in the FIAF federation.
Conclusion
'Amma Ariyan' is a film that defies easy categorization, and its restoration is a testament to the dedication and vision of those involved. It's a story that highlights the importance of preserving our cinematic heritage and the unique contributions of filmmakers like John Abraham. As 'Amma Ariyan' makes its way to Cannes, it carries with it the spirit of a bygone era and the enduring power of cinema.
