Sarvam Thaala Mayam Film review: A fine work on the carnatic music of Rajiv Menon

One of the most beautiful films I have seen in recent months is that of Rajiv Menon Madras Beats or Sarvam Thaala Mayam . Menon is a boy of Madras and his third feature film after Minsara Kanavu in 1997 and Kandukondain Kandukondain in 2000, Sarvam Thaala Mayam is a creation of return for him . Asked during one of my interviews with him last year at the Tokyo Film Festival, where the work had been premiered, he replied that he had written at least two films, but that he could not go beyond the drawing board for reasons as diverse as differences. opinion between the producer and the actors or the music composer.
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But I think this wait has been a blessing in disguise for Menon. His last outing is a much more impressive work than Minsara Kanavu or Kandukondain … (adapted from Jane Austin's Sense and Sensibility, written in 1811).
Sarvam Thaala Mayam is not only a touching story, melodious music, but also a message of paramount importance. He tells us that it is time that carnatic clbadical music – predominant in the south of India – emerges from the well and opens his mind to varied and modern influences. Moreover, it implies opening the doors of this form to communities other than the Hindu of the higher caste. For too long, this musical tradition has been the preserve of the Brahmins, who have generally been reluctant to let other castes enter this area.

The film shows us in a very touching way how Johnson (Kumaravel) makes excellent mridangams. (drums) that use legends like Palghat Vembu Iyer (Nedumudi Venu). But Johnson himself, although a talented musician, does not play the mridangam, because he, belonging to an inferior caste, is not allowed to enter the sacred portals of Carnatic Sangeet.

Johnson's son, Peter, was tested by musician GV. Prakash Kumar is a big fan of the Tamil actor Vijay, whose movie releases are announced by an exhibition of firecrackers. Vijay's huge wooden cutouts are adorned with jasmine flowers and sandalwood paste, milk and honey

However, all this takes a dramatic turn when Johnson sends Peter to Iyer's home with a new mridangam , where the young man is fascinated. the magic of this music. Watching Iyer play the drum, Peter's fingers begin to move in the romance of rhythm. Sarvam Thaalamayam then takes us through Peter's ordeals and his singular determination to break down the barriers in which Carnatic music is locked up.

Menon's work is gripping a captivating music of A R Rahman, an Oscar winner, and fascinating performances. Venu is a brilliant, nuanced and subtle actor. What a pleasure to see him as a legendary guru mridangam, left behind because of his rigid manners. Yet, like most grown ups, he is open to the idea of ​​absorbing a young talent like Peter, even though he came from an "untouchable" family. This shows the kindness and magnanimity of Iyer.

Prakash is also fresh and impressive as a man who transforms himself from being a mere movie fan into a fervent admirer of the clbadical guru, surrendering himself completely to a great tradition. In addition, Kumaravel as an adorable father and man chained by caste barriers sinks into the character to become Johnson.

Sarvam Thaala Mayam has all the qualities to attract even those who are not in the Carnatic tradition. engaging style and superb narration.

But, yes, the film could have been shorter and a little tighter, and certainly needed a map at the beginning to give us history of the plot about the fact that Carnatic musical tradition remained a frog in the well.

To watch this weekend.

Note: 4/5

(Gautaman Bhaskaran is an author, commentator and film critic)

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