Hinduism
Water (Cinematography review)
The film centers on how widows of different ages, maturity, backgrounds, and personalities deal with their hopelessly limited fate at a single ashram(refuge). Chuyia (Sarala) is an eight-year-old widow who is initially unable to comprehend her future and questions her religion and placement at the ashram. Alternately, Chuyia’s childlike spirit inspires the other woman with liveliness and affection. Kalyani is a beautiful young woman forced into prostitution to earn money for herself and for an older, manipulative widow, Madhumati. But, Kalyani’s beauty catches the interest of a Gandhi’s follower,Narayan and the mutual attraction sparks a forbidden romance between a widow and a commoner. The religiously-minded Shakuntala is a mother figure for Chuyia and Kalyani and provides them with direction and support; Shakuntala is knowledgeable, unlike many of the other widows. Chuyia and Kalyani are the primary figures in the film and from their friendship stems a happiness and unexpected disappointments. Given their younger ages, both have the most to learn from life.
The video of “Water” is shot in crisp colors and purposely tinted in hues of green and blue throughout the film. The sets are accurately recreated in the scenic locals of Sri Lanka; special mention goes to the design of the ashram.Shadows and darkness are contrasted perfectly by cinematographer Giles Nuttgens. As stated in the special features, Mehta wanted to contrast the plain unpleasantness of the widow’s existence in the ashram with visual beauty. Nuttgens’ able hand in experimenting with lighting has accomplished Mehta’s vision and provided the film with a stunning palette of colors. His approach is most interesting because of the inventive technique he and Mehta mastered over the course of the film’s production. Rather than storyboarding the film with exact framing prior to shooting, Nuttgens would base his framing on the atmosphere Mehta created with the actors
The film centers on how widows of different ages, maturity, backgrounds, and personalities deal with their hopelessly limited fate at a single ashram(refuge). Chuyia (Sarala) is an eight-year-old widow who is initially unable to comprehend her future and questions her religion and placement at the ashram. Alternately, Chuyia’s childlike spirit inspires the other woman with liveliness and affection. Kalyani is a beautiful young woman forced into prostitution to earn money for herself and for an older, manipulative widow, Madhumati. But, Kalyani’s beauty catches the interest of a Gandhi’s follower,Narayan and the mutual attraction sparks a forbidden romance between a widow and a commoner. The religiously-minded Shakuntala is a mother figure for Chuyia and Kalyani and provides them with direction and support; Shakuntala is knowledgeable, unlike many of the other widows. Chuyia and Kalyani are the primary figures in the film and from their friendship stems a happiness and unexpected disappointments. Given their younger ages, both have the most to learn from life.
The video of “Water” is shot in crisp colors and purposely tinted in hues of green and blue throughout the film. The sets are accurately recreated in the scenic locals of Sri Lanka; special mention goes to the design of the ashram.Shadows and darkness are contrasted perfectly by cinematographer Giles Nuttgens. As stated in the special features, Mehta wanted to contrast the plain unpleasantness of the widow’s existence in the ashram with visual beauty. Nuttgens’ able hand in experimenting with lighting has accomplished Mehta’s vision and provided the film with a stunning palette of colors. His approach is most interesting because of the inventive technique he and Mehta mastered over the course of the film’s production. Rather than storyboarding the film with exact framing prior to shooting, Nuttgens would base his framing on the atmosphere Mehta created with the actors