The Killing of Keechaka (BH:D226)

March 16, 2012

Drishyavedi organized an event in memory of its founder Madavoor Bhasi at the Karthika Thirunal theater yesterday. Veteran Kathakali maestro Sadanam Krishnankutty was felicitated on the occassion. He recently turned 70 ('sapthathi'). 

The evening started with the screening of the documentary titled "Priyamanasam" on the life of legendary Kathakali artist and first principal of Kerala Kala Mandala, Vazhenkada Kunchu Nair, directed by Vinu Vasudevan. Since there was no power supply, the event started half an hour late. I wondered what the huge generator at the back of the auditorium campus was supposed to be doing. 

I guess I shouldn't wonder about such things when one needs to constantly blank out from the eye the at least three decade old cobwebs and the peeling off paneling of the auditorium, not to mention the broken seats and the feasting mosquitos. It is only the scintillating performances of the artists who have dedicated their lives to the art forms that keep bringing the audience back to such a tottering, zero-maintenance auditorium. I am sure hundreds of thousands of rupees are regularly allocated to some artless despicable bastard's (oh, I shouldn't leave out the bitches,there are plenty of them too active here when it comes to corruption) pocket in the name of the upkeep. 

The documentary was a great introduction to an artist about whom I had no idea. Achan, on the other hand, recognized every single personality interviewed in the documentary. I knew only Dr. K.G. Paulose from that illustrious list. Padmashree Kunchu Nair began his training early in life and dedicated his entire life to Kathakali. He became the most famous disciple of Pattikamthodi Ravunni Menon, another Kathakali legend. Kunchu Nair worked at the Kottackal school and later became the first principal of Kerala Kala Mandalam arts university. 

Repeatedly, the people interviewed talked about his "Ouchithyam" which may be roughly translated as appropriateness. Kunchu 'ashan' (master) had a knack to identify how much of different emotions are appropriate for the different characters he was portraying based on that character's underlying nature ('sthayi bhavam'). Clearly, Hanuman and Bhima do not get angry and express it in the same way. In fact, the Hanuman in Kalyanasowgandhikam story is one of Kunchu ashan's best known characters. But he never had any problem playing Bhima as well. Besides producing some scintillating performances around the world and guiding hundreds of youngsters into the art form, Kunchu ashan also created some set to Kathakali some new stories like Buddhacharitam.

Since the Keechakavadham (killing of Keechaka) Kathakali performance began only by 7pm, nearly 45 minutes after scheduled time, the first scene was skipped and the artists, generally, quickened the pace of the performance. The story opened with the introduction of Keechaka, the commander-in-chief and brother-in-law of King Virata. Virata rules the king of Matsya. In Mahabharata, after their period of exile, the Pandavas have to live for one year in disguise. If they are caught in that year, they would be forced to go into exile again. They enter the palace of king Virata and work their as servants. Draupadi as Syrandri or Malini becomes the Queen Sudeshna's maid. Bhima as Vallala becomes the cook. Arjuna assumes his female form, Brihannala, during this period. 

Sadanam Krishnankutty as Keechaka makes an elaborate entry on stage from behind the ceremonial curtain. I don't remember seeing a canopy and peacock feather fans (alavattam) for any other character's entry in Kathakali. They must be reserved for the special warriors. His make up is the traditional "kathi" with a general redness and fangs that denote villains in Kathakali. 

Keechaka sees Malini plucking flowers in the garden. He is totally smitten. Sadanam Krishnankutty excelled in depicting the uncontrollable passion of Keechaka on seeing the gorgeous Malini. It was animalistic as the twitching of his nose conveyed. Unbridled, raw, animal lust. He goes to her and declares his passion. She is appalled. She rejects him outright. She tells him that five 'gandharvas' (celestial beings) are her husbands and they will kill him. Sadanam Krishnankutty as Keechaka sitting down at this point came up with the greatest expression of the "so what?" sentiment I have ever seen from an actor. Keechaka is not scared of such threats. He must have her. He takes the matter to his sister.

His sister Sudeshna, the queen, first advises him that nothing good is going to come out of his infatuation. But he shows her how weak he has become in the heat of this desire. "I have tried everything with that woman," he says, "but it seems her heart is stone." Sudeshna pities her brother. She says that she will send Malini over to Keechaka's quarters in the pretext of delivering some sweet dish, Payasam! Keechaka is so grateful to his sister that he even tries to fall at her feet. Absolutely magnificent acting!

Malini is stunned on hearing Sudeshna's demand. She knows it is a set up, but what to do but obey. Reluctantly she goes to Keechaka's quarters and throws the plate of payasam at his feet. He is thrilled to see her there. He invites her to sit on the bed. He scatters floral petals on the bed and mischievously throws some at her as well. She is furious. Next he opens the cupboard, fetches some performs, puts it on the bed, generously sprinkles it on himself. But when he throws some at her, it backfires and burns her eyes! Then he kicks up the seduction one notch. "Come hither, I will give you a foot massage," says he demonstrating his skills on her imaginary feet. Then he put on some Boyz II Men CD. Oh wait! I am confusing this with another story I heard from a friend in College Station. But seriously, have men changed at all over these thousands of years?! 

When he tries to touch her once...twice...Draupadi reacts violently. Spurned so badly despite his groveling, Keechaka, the arrogant warrior, also turns violent. Attempted assault. Draupadi escapes. Usually, there is an interfering Rakshasa called Madolkadan who saves Draupadi at this point. But in the version performed, this character was omitted. Instead, we find Draupadi running straight to Bhima, who as Vallal, the cook, is sleeping in the kitchen. She cries on his shoulder. His blood boils. He swears to kill Keechaka. He asks Draupadi to invite Keechaka to her bedroom. Bhima will lie there in waiting. 

Enter Keechaka to the bedroom.Bhima lies on stage covered by the ceremonial curtain. The room is dark. Keechaka fumbles around. The blindness of desire. The darkness of desire. He stumbles on the body on the floor. He sits down and inspects. He had thought only her heart was stone but now it looks like even her body is. "Did her body become hard from all the beatings she has received?" he wonders. But then her palms are so rough too. He is doubtful. He even gets up and walks around a bit. But as it happens in life, desire takes over. He secures the windows. He succumbs and lies down next to the body. The cermonial curtain is lifted. We hear loud sounds of struggle from behind it.

Ideally when the curtain drops, we should see Keechaka with his face down on the floor struggling to free himself from Bhima's deadly hold. But the grand old man who was one of the curtain holders at this performance dropped it too early. The disappointment on Sadanam Krishnankutty's face was obvious at this mistake. But he is a veteran. In a few seconds, he was Keechaka again. Keechaka in the throes of death. Keechaka drawing his final breaths. Accompanied by the 'chenda', the final moments of Keechaka with the changing patterns of breath took a full two minutes. Stupendous acting!

The final scene is mostly Bhima blowing his on trumpet.Kalalayam Rajasekharan as Bhima was forceful though his role was small. Margi Vijayakumar was gorgeous as Draupadi. Margi Harivatsan played Sudeshna. But the entire evening belonged to Sadanam Krishnankutty. Here was a villain so overcome with lust that we almost sympathize with him. He might be commander-in-chief, a magnificent warrior, but after seeing Draupadi, he is as moody as a horny teenager. Impossible to believe that the artist is over 70 years old. 

It was sad that the performance was cut short because of the delayed start. Keechaka's description of Draupadi forms some of the most exquisite and erotic writing in Kathakali. It would have been terrific to see Sadanam Krishnankutty ashan act it all out. But then whatever he did yesterday was more than enough to seal his reputation as one of the all time greats.