Saturday, 18 September 2021 18:56

Chrysallis/ India






CHRYSALIS

India, 2005, 107 minutes, Colour.
Directed by Sashi Kumar.

Chrysalis is a surprising film to come out of India at the beginning of the 21st century. It is not in the Bollywood tradition at all, although there are a number of songs in the background which cater for Indian tastes in having songs in their films. The lyrics also comment on the action and themes. The main reason for surprise is that one of the central characters is a Catholic nun. The film is also a plea for religious tolerance.

The initial setting is Delhi, 2002, and discussions about Indian legislation concerning conversions and the prohibiting of proselytising (this led to some outbreaks of violence at the time and the killing of some Christian foreign missionaries). The film initially has characters discussing these issues, exhibiting some prejudices and a young journalist being commissioned to write an article on conversions. He seeks out a wise man and listens to arguments about religion and belief. However, he is haunted by strange memories which lead him on a quest to know about his past and to find his own religious path.

His journey leads him to a convent in Meerut. Sister Agatha is unwilling to talk with him as Catholics (ncluding the local bishop and Fr Thomas who has been in the city for a quarter of a century) are wary about conversions. However, Sister Agatha relents and tells the journalist the story of the nuns saving a Sikh woman and her little boy when they seek refuge at the convent at the time of the assassination of Indira Gandhi and massacres of Sikhs). While this issue is serious, there are some entertaining scenes as the little boy is happily adopted by the community which consists of aged nuns in retirement. (This is done is a combination of humour and reverential awe for nuns – audiences might remember the 1960 Conspiracy of Hearts where nuns give refuge to Jews during World War II.)

Most audiences will be taken aback when there is a fantasy sequence after the boy’s Sikh hair is cut and he is concealed in a coffin for escape. The nuns are presented in an Indian ritual, filmed from overhead. They are dressed as if they are part of a chrysalis. As they pray, the coffin opens and a middle-aged Guru, presumably Sikh emerges. A symbol of interfaith collaboration, shared beliefs and hopes?

The quest ends with the young man finding his identity and his faith – and being fearless about it.

For those interested in interfaith dialogue, well worth catching.

1. The Indian film industry, the serious films – the contrast with the Bollywood entertainments? This film with a serious message about religious tolerance? Conversions?

2. The Delhi setting, 2002? The flashbacks to the 1980s, the city of Meerut? The city, the streets, the convent? The convent grounds?

3. The situation of the assassination of Indira Gandhi, the subsequent riots, the massacre of Sikhs? The film not showing the action in detail – rather talk about the incidents, descriptions, the television suggestions?

4. The title, the boy as a chrysalis, his life, vocation – and the visual impact of the vision? The theme of the vision? The little boy as a Sikh, emerging as a wise Sikh guru?

5. The historical aspects of the film, realism, drama – and the magic realism of the vision?

6. The conversion issue, the opening with the journalists discussing tolerance, conversion, the hard line wanting to exclude different religions from the area? Indian religious legislation, the interpretation of anti-conversion laws? Their enforcement, reactions? The stances of the major religions in India? The victims of persecution?

7. The opening, the café, the discussions, the prejudices? The young journalist and his stances? The philosophical background, explanation of religions, beliefs? The place of Sikhs in the community? The journalist and his enquiries, visiting the old man, the stories, the visionary nature of his revelations? The ride on the motorbike, almost crashing on the bridge, the vision of persecution? His sense of mission?

8. How well did the film explain legislation, religious issues, discussion for the Indian audience, non-Indians?

9. The journalist’s quest, going to the convent, wanting to see Sister Agatha, her refusal? His going to the bishop, the discussions with the bishop about the past, with Father Thomas and his experience of being in Meerut for a quarter of a century?

10. His going back to the convent, the presentation of convent life, the personalities of the sisters, the aged, the dying, the eccentricities? The director’s reverent tone of presenting the nuns? Sister Agatha’s background, being an orphan, her commission to look after the elderly sisters?

11. The personality of Sister Agatha, her memories? Life in the convent, the nuns, the nun playing the piano but giving it up, the sister who hid her tablets in the garden, the old sisters, the old teacher arriving at the railway station accompanied by Cecilia? The movement of the nuns in India, in Meerut? The political crisis, the news of Indira Gandhi’s assassination, the nuns watching it on television? The atmosphere of fear? The woman knocking at the door, the nuns letting the mother and boy in, saving them? The advice of the bishop – rather bland and relying on God’s will? Father Thomas and his help?

12. The mother and her boy, the flashbacks to what they experienced, the persecution, the violence of the deaths, the riots, their running away? Knocking at the door, being saved? Life within the convent, the mother’s appeal, the sisters supporting her? The boy and his life in the convent, becoming a favourite? Playing the piano, lessons? The caretaker and his helping them? The possibility of escaping, driving with the caretaker, their being pursued by the mob on bikes, the military truck saving them, their return?

13. The decision to save the boy, cutting his hair and it being such a difficult experience of him, his mother having tended his hair, the Sikh tradition? In the coffin? The dream, the boy in the coffin, his emerging as the guru? The role of the sisters, in ritual robes, like the skin of a chrysalis and the boy emerging? The collaboration of religions and myths?

14. The journalist listening to the story, the effect on him, his acknowledging his Sikh background, travelling back to Delhi, his gratitude to the nuns, to Sister Agatha? The taunts of his friends – but his standing firm about his religious beliefs?

15. The importance of this kind of film at the beginning of the 21st century for religious tolerance in India?