Thithi is a dramatic comedy about how three generations of sons react to the death of the oldest in their clan, a man named Century Gowda: a locally renowned, highly cantankerous 101-year-old man.
Thithi is a dramatic comedy about how three generations of sons react to the death of the oldest in their clan, a man named Century Gowda: a locally renowned, highly cantankerous 101-year-old man. less
Rarely comes a gem of a film that simply bowls one over. That it turns out to be touchstone one which future projects needs to benchmark themselves is even more significant. What makes Thithi a film of the highest order of auteur class is that the man behind the film is a young man of just 25 going by the name of Raam Reddy. In fact, no Kannada film has so kindled the interest of both common man and intelligentsia, that the film has been awaited with bated breath for its formal release in theatres. Having garnered as many awards in as many film festivals it was showcased at to standing ovations, Thithi finally has come to roost in home State, to gauge the critical, as also commercial pulse and prospects of its home audience. As an art house cinema, getting all its registers deliciously right, Thithi turns out top notch that is bound to woo both discerning cinephiles as also commoners who will find empathy with its down to earth everyday characters and enjoy every minute of its entertaining two hours of non-stop humour amidst somber situation. As Reddy cleverly and consummately constructs his narrative, which is perforce a black comedy, with comical proportions, Thithi, which captures the failings and foibles of three generations of an elderly villager’s family is a class act by Raam Reddy. Played out by an ensemble cast to near perfection fby non-professional actors drawn from the village where the film has been set in, Reddy’s Thithi, largerly drawn out from Raam’s real life experiences is to be seen to be savoured. Never a dull moment, full of subtly knit homilies, Thithi, is a film that has etched itself a pre-eminent place in the annals of Kannada filmdom, why even the ubiquitous Indian cinema marquee. If Century Gowda sets the tone for the film’s passage of comical charade as it pokes and probes into the compulsions of the man’s grandson Thamanna’s over-riding need to grab the man’s land, his father Gaddappa’s nonchalant, stoical mein, with ever wandering legs, and yen to down bottles of local liquor, only adds to son’s furious hurriedness to finish the transaction before the day of the funeral. At the other extreme is Thamanna’s son Abhi, caring two hoots to his father’s constant summons to take care of the family and lend him a helping hand, who is in a world of his own busy wooing the innocent shepherdess Cauvery, both in the first flush of their youth, chasing the cupid chimera. As these three characters criss cross each other in the run up to the Thithi day, the film turns out both a celebration of life, even in death, and a critique of the state of the Nation today, specially with reagard to farmers’ woes, capturing every bit of village life and vignettes in its vibrant and variegated hues. That Raam Reddy has schooled himself well in the aesthetics of cerebral cinema is evident in the way he has scripted the film with his equally enterprising co-scripter Eregowda. Charmingly and captivatingly photographed by Doron Tempert and eruditely edited by John Zimmerman and Raam Reddy, Thithi, in sum, is film not only for repeat watch for students of cinema but even the lay viewers who will enjoy each visit with renewed vigour and wonder at the creation called Century Gowda.