Beyond the obvious – some brilliant, restrained acting, a measured script and picturesque cinematography – Avinash’s ToU is a bold but subtle study of the Mind using dementia as a tool to explore it and also the Identity of Mind.
The Intrigue begins with the title. You wonder which trinity? Is it the physical space? - that Shailu shares with Dipankar(husband), Pramod (first love) as we are mischievously led to believe. Or is it the mental space – where memories of three others battle it out her Bharat (son), Pramod(love), Venu (sister) in her mind; Or is it a metaphysical/spiritual space – representing her alter ego (the Sea Witch), her present Self and her old self(little girl of Vengurla). Avinash even teases us with oblique reference to the mysterious three in his witch’s allegory of three persons rising from the sea.
He boldly explores several triggers for dementia. It could be any or all of them. (1) Childhood guilt could have triggered her subconscious to start snapping those connections in an effort to heal and forget Venu. Correlation with childhood trauma is well researched. For she never discussed her village Vengurla with her husband! (2) Traumatizing forceful dislodgement from her beloved Vengurla to a disconnected metro weakening a young mind. something explored by Manichitrathazhu decades ago (3) Long term denial of her 'strong and artistic' real self and losing her hope ‘Bharat’ as well to IIT (husband’s wishes) (4) Traditional ‘family life’ dulled by domestic drudgery juxtaposed with an ironic divorce counselling professional life – where she sees determined females refusing counsel, pressing for freedom. Each, equally likely, leading to an unconscious recognition by her mind of its purposelessness, triggering an early ‘retirement’ from life.
ToU then, goes onto explore a person’s Identity – is it just a collection of memories (frozen thoughts and experiences) that has molded into a characteristic way of thinking and response - a personality aka identity. Very few have liberated from such ‘conditioning’ to live in present. 'What baggage?' the witch asks. When dementia pecks away at that precious collection that makes up our identity, Shailu desperately did what we all would do – hold on to whatever one can remember-of as essential and fearfully tread hoping to recollect more. Multiple instances underscore this perpetual dread. While searching for her old self, Shailu jokes to Dipankar to capture ‘it’ if he spots it first. Another time, she asks Pramod to store their magic moment atop the giant wheel lest it eludes her. She comes through as someone who has researched enough her condition to understand what awaits her – a stage when she even fails to speak or communicate - and would then want her Pramod to narrate these moments to help her to ‘relive’. She is indeed thinking far ahead of a condition that only she knows of. This fear of mentally sinking into a void - gasping for lack of memories – a fear and shame made so palpable by Shefali’s frightening performance.
The contrasting responses of Shailu and Pramod to their encounter (an event) is stark. We see Pramod's normal mind flooded and bountiful as he pens ‘Udgam’ (Origin), a therapeutic and philosophic consolidation of thoughts/ideas and a Shailu sadly picking up whatever material 'remains’ of her and pasting on to the only storage she can rely(laptop). Avinash beautifully captures and overlays their contrasting mental journeys (thoughts) over the same physical meeting/walk (events they participate).
Avinash’s research is also painstakingly brilliant. Brain’s map can be complex, funny and cruel. For, Shailu remembers Pramod's full name (raw data - symbolized by 'neurons'), yet forgets the connections (denoted synapses) - how she always addressed him in her childhood, making a mockery of her. Dementia makes Shailu at times meteoric and sharp, recognizing faces in old photographs (that her mates cannot). Yet, it can shame you midway during a nuanced dance posture, something you had probably practiced enough into your ‘muscle memory’. What then, is Memory, you ask! What is the format in which these memories are stored. A simple recollection or image can reconstruct all dimensions of an experience – creating butterflies in your stomach or sweat you in fear.
And finally, the odd tale the witch told Shailu. The witch could be Shailu’s alter ego who her advises through a puzzle (Movie is replete with symbols. Sea, being the prominent one, probably representing universal consciousness (as often used in Advaita to explain existence). From the sea, rose three people (individual consciousness or identities) denoting perhaps her ‘relations (Venu, Pratap...)’ fighting for me and to influence my mind/identity. But the sea got furious threatening her existence and so she threw away the ring (denoting a painful precious memory , maybe Venu) into the oblivion (i.e. killed the memory of Venu). In the final shot, Avinash shows a Shailu (heeding the advice of her alter-ego) and finally gaining strength to look down the well.
ToU is hard hitting and leaves you high and dry. What can science or logic offer, beyond drugs that dull you to pull on or a diary to keep notes. Stories, symbols and puzzles are more powerful than logic and language. Perhaps Avinash wanted to use allegory to linger in our memory as much as the Witch wanted to live in Shailu's memory for ever. Afterall, after our mortal life, we only live as stories and legends in the memories of others.
Btw, was Jaideep acting or living. What a talent!
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