I had to be told by the visibly baffled ushers that the movie was over, all of it including the last syllable of the end credit. It’s been a while since a movie has had this kind of an effect, that the blank screen seemed alive, long after the moving images seemed to have breached its contour. The movie in point being “Charlie”.
The way it started in an abstract manner made me think it was only a matter of time before things would go above the audience’s heads, alienating them in the process.
It’s always about the initial few minutes as far as a movie goes. You’ve got to pique the viewer’s interest and allow him take the trip you’ve in offer, dovetailing his imagination with your narrative in these precious initial minutes. Otherwise, predisposition sets on them as they decline to get on board and resort to next important things like checking the reclining extent of their seats or getting up to add some butter to the popcorn tub.
So as I was saying, it started abstractly, but with every passing moment the sense of intrigue enveloped me. Soon there I was, moving in tandem in my head with the stroke of the artist’s brush on his canvass till the last stroke that led to the incredible painting, the movie was.
Charlie is a celebration of the spirit of wanderlust, eponymously named after its protagonist. It talks about his constant travelling, warming us up to his psyche through the perspective of people on whose lives he’s left an indelible impact; enriching one albeit.
So we embark on this journey to find Charlie along with Tessa, who’s intrigued by one of his creations with the brush; yup; he’s an exemplary artist who makes sketch trophies of people, the only footprint of his available to her at all. As fate would have it, she comes across men, one after the other from the sketches. With every first person anecdote endorsing Charlie, a dot gets connected in her mind that’s attempting the big picture.
He’s like one of these exotic birds, which doesn’t confine itself to one sanctuary. It belongs to the sky and the sky to it, flying mockingly above frontiers. He loves touching upon a myriad lives in his journey, oh so nonchalantly. But never lets to be touched back, in his characteristic inoffensive way.
A zephyr, that bristles its way through the hair strands cozily to leave without a trace.
From the account of the burglar who came to burgle, who he hitched along to burgle with after a drink to the cutting of a marinated fish(ersatz cake) on mid sea; commemorating the birthday of an unlucky hooker who breaks down to only be held by him to be told-“The sea’s got enough salt and can do without your tears”, we travel along with Charlie .
Here’s this bohemian spirit in all its prowess, stopping a suicide victim with great difficulty to only negotiate a postponement to kicking the bucket. He sells the experience of magic mushrooms and the sight of a cloud crowned peak, to justify the postponement .
Once she likes the new habitat he gets her acquainted to, he barely tries to check on her in a fiduciary way. In fact he tells her how she could just roll down from the mountain top on her Enfield, to an assured end if this wasn’t working. But that’s him, this unobtrusive person who lets people be.
There’s this beautiful scene in the movie, where a lovelorn septuagenarian is overwhelmed after being introduced to the lost love of his life-a nun now, by Charlie. This man locks himself up and asks to be let alone curtly, when Charlie goes in search of him. Charlie just smiles in an empathetic, un-offended manner. That moment, you understand his reverence to space and privacy- A cornerstone to his nomadic life pursuits.
In another uncanny episode, Charlie advertises his demise on a leading daily’s obituary column to check the turnout for his funeral and the extent of emotion at display. He later tries to reason out with his baffled wellwishers on his hoax of a funeral over drinks, sufi music and wisecracks.
For a fluid entity like him, intimidated by the very thought of settling down; knowledge of another female constantly on his toes is an unsettling feeling with the fear of permanence it brings about. So he indulges in a cat and mouse game with Tessa; notwithstanding her earnest efforts at catching up to him.
And it doesn’t help that he doesn’t have a permanent residence,uses mobiles, laptops and constantly hitches a lift to commute from place to another; leaving behind no digital traces for her.
The movie ends with Tessa and Charlie coming together in a festival over a glass of lime juice finally, courtesy his tip to her about his whereabouts. The union happens in an unhurried, mischievous manner without much adieu, like the epiphanies that happen to us over the course of the movie.
This is that kind of a holistic movie where nothing stands out like a sore thumb screaming for individual attention despite their superlative contribution to the film- be it the blemish less performance of the two leads, Gopi Sundar’s ethereal score or the auteur’s skilful narration of the convoluted plot in an endearing manner. Every element functions as a cog in the wheel.
Overall, Charlie is the personification of our organic self. That part of us that comes alive at the prospect of constant adventure, travel and bonhomie without the need for any form of societal validation. An alter ego that endorses leading a life without an ambition; making life an ambition in itself.
An alter ego that doesn’t delve on the consequences of an act or the accruals of a deed, but lives every moment till its last drop. One that is so preoccupied with living an experience and monkeying to the next one, to take stock of petty things like success and failure. A good Samaritan who touches upon lives of people he bumps into; not because it’s good; but because it is cool.