BEFORE THE RAINS
UK/India, 2007, 98 minutes, Colour.
Linus Roache, Rahul Bose, Nandita Das, Jennifer Ehle, Leopold Benedict.
Directed by Santosh Sivan.
This is an old-fashioned film for those who are not into fast and slick action. It is reminiscent of many of the films of the 30s, 40s and 50s, often based on stories by W. Somerset Maugham, stories of colonial plantation owners, affairs with the locals and presenting a presumptuous picture of British settlement, trade and exploitation of the colonies. Before the Rains certainly does this.
The plot is developed in a rather low-key way but it is presented amid beautiful Kerala scenery. The time is 1937 and there are more than rumblings all over India for independence. In the meantime, British planters are developing roads for transport of spices for further trade benefits. The local men are given opportunity for work on the new roads – which must be built strongly and securely before the rains come.
Linus Roache portrays Henry Moores, a seemingly thoughtful man who is securing bank loans for a new road. We see him involved, quite lyrically, with his servant (Nandita Das) who is in love with him. And then we discover that he has a wife and son and that she is married, albeit to a brutal and unloving husband. When she runs away from him, expecting to be taken in by Henry Moores not only do complications ensue but tragedy for her.
Further complications arise because of the unwilling involvement of Moore’s British-school educated foreman, T.K. (a sympathetic Rahul Bose) who has to face a moral decision in giving information to the village elders, led by his father. He undergoes a traditional ritual like a medieval ordeal to test whether he is telling the truth or not.
The tragedy reveals the lack of moral courage and integrity in Moores and the dismay of his wife (Jennifer Ehle).
This means that the familiar enough story serves as an allegory of the British presence in India and other colonies. They are dominant when they are in control but exploit both the land and the people (including sexually). They cannot face up to their responsibilities and should be ousted.
Before the Rains was directed by renowned Indian cinematographer Sandosh Sivan who also wrote and directed the thriller, The Terrorist (1999).
1.The world of the 1930s? The British Empire, colonial attitudes? Somerset Maugham’s stories of colonial exploiters, affairs?
2.The 1930s and 40s style, melodrama, sexuality, violence?
3.The Kerola locations, the beauty, the village, the colonial house, the building of the road, the mountains and river, the musical score?
4.The title, indication of drama, hopes, the seasons, the monsoons and rains, floods and destruction? The end and the coming of the rain? A deluge for Henry Moores?
5.1937, India, Kerola, the plantations, the roads, spices? People with British education? The village workers? Traditions and law, justice? The British police and the local police?
6.Anti-British sentiment, the teacher, his speeches, the students, lying down in front of vehicles for protest, protests in the village, demonstrations? Vocalising opposition to Britain?
7.Harry Moores and his life, the building of the road, the loan from the bank, his very British background, the people at the club, the local workers? His friendship with T.K., relying on him? Well organised? Prosperous on the surface? His final hard work, seeming success?
8.Sanjani and Henry’s bond with her? The drive, her hiding, getting the honey, the nature of the affair? T.K. bringing her home? Her home, her husband, his violence, her eventually leaving him? Taking refuge at the house? T.K. and his putting her on the boat, the money from Henry? Her dismay, her return, desperation, nowhere to go? Getting the gun, killing herself?
9.T.K. and his education, the criticisms of his father, the traditions of the village, his work, loyalty to Henry, the foreman of the making of the road? His love for Sanjani? Her brother? Taking her away, putting her on the boat, her return, Henry and the gift of the gun, Sanjani’s death? His helping Henry to sink the body in the river?
10.Laura and her return with Peter? The British holiday, their home in the colonies, their way of life, Henry’s deceit? Sanjani and her work, her disappearance, Laura’s concern? The brother and his search? Laura offering to help? The realisation of what had happened? Her spurning Henry, leaving him? The pain for him and his bond with his son?
11.Henry and his lies, a weak man, the group coming to search the house? T.K. and his letting him be arrested?
12.The two boys, at the waterfall at the beginning, the river, discovering the body? People’s reaction, the ceremonial burning of the body? The suspicions on T.K. because of the gun? His arrest? Henry letting him go? The trial in the village, his declaration of the truth, his being put through the traditional ordeal, the heating of the spoon, his tongue on the spoon? His being proven innocent? His being persuaded by his father to tell the truth?
13.The men away from building the road, the search for Sanjani’s body, their return? The police interrogating Henry? His lies? Going to the club, the withdrawal of the money? Going back to work? T.K. confronting him, the gun, letting him live? Henry losing everything?
14.T.K., the traditions, the justice and his being forced to confront Henry with the gun?
15.The allegory of colonialism, authorities, the police, the plantations, the work, the club, the work of the native-born, violence and exploitation, everything being undone – and the consequences?
