Dr Ramakanta Samantaray
I had the opportunity to watch the Malayalam-language film Thampu (1978) written and directed by G. Aravindan, at the Bhubaneswar Film Festival 2025. Thampu (The Circus Tent) is a poignant and visually compelling exploration of transient lives and the passage of time.
The film follows a traveling circus that arrives in a small town, setting up its temporary world of performances and illusions. As I watched, it transported me back to my childhood—a time when film shows, theatre performances, magic acts, and puppet theaters would visit our village. Sometimes they would set up their tents and stay for a few days, turning our simple surroundings into a world of wonder and excitement. As children, we were mesmerized by the spectacle but never thought about the lives of those behind it. We never realized that they, too, had emotions, dreams, and struggles. Sadly, such experiences have now faded into the past, lost to the tides of time and the rise of modern entertainment.
One of the most striking aspects of Thampu is its documentary-style cinematography. Shot in evocative black and white, the film captures the everyday struggles and fleeting joys of the circus performers with an observational, almost poetic lens. The thin line between reality and performance gradually dissolves, making the performers’ lives feel more raw and poignant. Beneath their elaborate makeup, their sorrowful eyes silently tell stories of hardship and longing. Every member of the circus, including the animals—a weary tiger and a melancholic monkey—appears burdened by their existence, trapped in a cycle of survival. Poverty binds them to this life, forcing them to endure an endless routine. From young children to the elderly, they all wander in circles—just like the young girls who tirelessly practice their cycling routines, day and night. Aravindan’s subtle direction allows these moments to unfold naturally, without forced drama, creating an immersive and deeply moving experience.
An intriguing layer to the narrative is introduced through the character of a wealthy man’s son, who, despite his privileged background, feels alienated upon returning to his village after studying abroad. In a bid to escape his loneliness and dissatisfaction, he chooses to join the circus troupe. This ironic contrast between privilege and deprivation highlights the universal human search for belonging and meaning, reinforcing the theme of alienation that resonates throughout the film.
Aravindan’s filmmaking approach was refreshingly organic. He brought together a troupe of real circus performers and traveled to the village of Thirunavaya, located on the banks of the Bharathapuzha River. The circus was set up on the first day, and the entire village was invited to witness the performances. Remarkably, the film had no predefined script—events were captured as they unfolded, lending the story an authenticity rarely seen in cinema.
The performances in Thampu are understated yet profoundly powerful, with each character contributing to the film’s introspective tone. The haunting background score complements the melancholic atmosphere, adding depth and emotion to the stunning visuals.
The film’s restoration was undertaken by the Film Heritage Foundation, with the support of Davide Pozzi and Saiprasad Akkeneni. Despite the challenges posed by damaged film reels, the restoration team painstakingly worked to revive the film, ensuring that its original essence and visual beauty were preserved for future generations to experience.
Thampu is more than just a film; it is an experience that lingers long after the credits roll. It speaks to the fleeting nature of life and art, evoking a sense of nostalgia for a time when traveling performers brought magic and storytelling to our doorsteps. In its quiet, meditative way, Thampu reminds us of the beauty found in the simplest moments and the profound stories hidden within the transient lives around us.
Nice presentation