KOCHI: ‘Kummatty’ was perhaps G Aravindan’s most poetic work. A film in which the visuals speak as much as, if not more than, the script.
Released in 1979, the film follows a mysterious, almost mythical figure who arrives in a village and captivates a group of children. Blending folklore, nature and childhood wonder, Kummatty remains evocative. Its sparse narrative leaves ample space for images, sounds and emotions to speak for themselves.
For many film aficionados, Cheemeni, where the legendary film was shot, is something of a pilgrimage site. Decades after its making, the film’s charm continues to transcend time and space, reaching art lovers across the world.
One such admirer was Sato Tadao, the Japanese film critic known for his astute appreciation of simplicity and innocence in cinema, rather than layered ideas or elaborate storytelling. For him, ‘Kummatty’ was a work that captured emotions in their most pristine form.
At this year’s International Documentary and Short Film Festival of Kerala (IDSFFK), Sato’s story and his love for ‘Kummatty’ have come to the screen through ‘Journey into Sato Tadao’, a film by Mizuo Terasaki, a Tokyo-based documentary filmmaker who graduated from the Japan Institute of Moving Image, where Sato taught.
What spurred Mizuo was her teacher’s deep admiration for Aravindan and ‘Kummatty’, which he considered one of the greatest films ever made, alongside ‘Tokyo Story (Tokyo Monogatari)’, directed by Yasujiro Ozu.
“His love for the film prompted me to watch ‘Kummatty’ several times. I found Sato to be so true about it,” says Mizuo, who is currently at IDSFKK.
“The sweep of nature in the frames, the innocent curiosity of the kids, and the simple yet deep storytelling made me feel Sato Tadao was right. ‘Kummatty’ was indeed pure and guileless. He had travelled to Keralam to meet Aravindan, Adoor Gopalakrishnan, and Shaji N Karun, who handled the film’s camera.”
Sato passed away in 2022. Mizuo then felt his journey into the film should be chronicled. “It spoke not just of the film but the way Sato viewed life,” she says. “Only an innocent soul gets attracted to innocence. ‘Kummatty’ was an innocent portrayal, so was Sato’s mind.”
Mizuo had conducted several interviews with Sato in 2020. The pandemic, however, disrupted their interactions.
After Sato’s death, Mizuo travelled to Thiruvananthapuram, where she met Adoor Gopalakrishnan, Bina Paul and Shaji N Karun to gain insights into ‘Kummatty’ and the way Sato cherished the film.
“I understood why he loved it. I travelled to Cheemeni, met the people there, especially the child actors of the film who are now senior adults,” says Mizuo.
“The expanse of nature, as seen in the movie, may have undergone changes, but I found the free spirit alive, especially the naivety that attracted Sato to the film.”
Mizuo’s 98-minute film — which is being screened at IDSFFK in the ‘International Non-fiction’ section — has been shown in many places in Japan. “But this is its international premiere, and I am glad it is in Keralam,” gushes the filmmaker, who feels her connection with the state has grown deeper after exploring ‘Kummatty’ through Sato’s eyes.
“I plan to revisit Keralam. To explore beyond ‘Kummatty’… Theyyam, Kathakali, and several other cultural nuances that are strikingly similar to those of Japan.”