Samsara:

Musical journey

Anuradha Abeysekara

Samsara, a simple fable illustrate one man’s search for spiritual enlightenment and a woman’s struggle to hold into her enlightened love and life in an isolated traditional farming village near a Buddhist monastery, amidst the misty hills of Himalayan Ladakh range 15,000 feet above the sea.

The director Pan Nalin has moulded his story into a cinematic masterpiece in many aspects on a philosophical and a spiritual theme instead of giving religious interpretations. Although it emerges from an Eastern Buddhist subculture the movie has proved its universality by winning the most popular feature film award at the Melbourne International Film Festival in 2002.

Depicting the beauty of human life, conflict and vastness through images of natural landscapes and picturesque mountain ranges with exceptional clarity and details was proof of the movie’s high quality technical and production values.

Countless mountain peeks in wide angles was often used to symbolise the main character Tashi’s inner mind. The depth and field of the frames sharpen the moments, in perfect harmony with the theme.

The film contains less dialogue as the director lets the camera do most of the talking. Yet, the few dialogues, although not so lengthy, are heavy with meaning. Pan Nalin has displayed an exceptional talent in cinematography.

The subliminal messages given through the dog Kala, Green and brown tree leaves, the broken mirror and cluster of ants roaming in different directions is testimony to the delicate artistry of the director.

Even for some one who is not a great movie buff, ‘Samsara’ offers a treat with scenic beauty. Beside the main story it gives you a clear picture of the traditions, rituals and simple life style of the remote villagers, reflecting the rich culture, high moral standards and gentleness.

Tashi’s realistic acting was praise worthy as an ascetic and a layman. The rest of the cast – Apo, Pema, Karma, Jamayang and Dawa performed their roles supporting the smooth flow of the story.

As the film quotes the Buddha’s words “you should not accept my teachings unless and until you understand it from your own point of view”, indicates the director’s focus on the philosophical aspect of Buddhism, which he maintains through out the film.

Music and sound effects have been used in a very fitting manner, showing off the music composer Cyril Morin’s ability to touch the depths of the human soul. Wind chimes, folk percussions, traditional blowing instruments were mainly used apart from the violins and cello.

Human voice and sound of the blowing wind were used to transport the viewer to the scene making it all the more realistic. Music has played a vital role in the slow-moving film, maintaining its rhythm while adding colour. ‘Silence’ has let the visuals speak.

The music itself is simple and mingles with the theme, creating a sort of musical journey.

The final chapter of the movie brings it to a climax when Pema raised the fundamental question of morality on Tashi’s renunciation from his wife and child in order to seek enlightenment. There is no need for spoilers.

Pema’s own words explain the gravity of their attachment and the complex subject matter the movie is dealing with: “Tashi...if your love towards Dhamma were of the same intensity of the love and compassion you have shown me, you would have become a Buddha in this very life”,

This conversation is the foundation of the whole movie, attracting the audience while making a platform for discussion. The film concludes beautifully, leaving an optimistic massage for the audience.

Samasara is an amazing work of art, a spiritual treat for your soul, suitable for youth and adults alike. An artistic explanation of our existence, desires and search of spiritual satisfaction.