One of Shyam Benegal's finest work, this movie is about a Portugal family in Goa and their struggle to come in terms with the death of the head of the family, all amidst the backdrop of an Indian army assembled to attack and take over Goa. The movie will make you experience the Goan Portuguese culture, their lifestyle, their music (watch out for the young Remo Fernandez and Alisha Chennai in 1985), and in the end, you feel as if you have actually experienced the entire happening. The costumes, the names, the behavior of the characters are all very authentic, and one thing is for sure, the next time you are in Goa, you will pause and think for a second about its unique and diverse culture and the place it holds in the Indian history.
7 Reviews
An original work amidst nonsense
South_Node8 May 2005
Warning: Spoilers
Here is a genre of parallel cinema, as they call it in India, which leaves you absolutely spellbound. This movie was created at a time, when the so-called "commercial", popular version of Hindi cinema indulged in pure air-headed fantasy as far as Catholics in general and Goans in particular were concerned. I wouldn't say it was without flaws, and it was a perfectly objective masterpiece. But the attempt on the part of the author of the story and the director (Shyam Benegal in an unusual twin role) was there to portray reality, rather than deliberately shut all eyes to reality, to make something enjoyable. The acting was average, and no one particularly stood out. The slow pace and the original lighting associated with this movie were absolutely justified given the context in which the tale is told.
Excellent Casting and some great performance
madhu-gumballi17 January 2009
Warning: Spoilers
The casting has been spot on. Performance by Nasseruddin Shah (as the narrator), Leela Naidu, Neena Gupta and Dalip Tahil are great. Also watch out for Lucky Ali, Ila Arun, Remo Fernandes (has given some great music for this movie) and Alisha Chinai. The film is set during the 1960's in the Portuguese administered Goa, while Indian Army is all set to take over.
The story is about a Goan family in general and Dona Maria in particular who has to cope with the death of her husband. There are certain aspects of the film that is not very clearly portrayed like for instance what made Dona Maria's character see spirits and talk to them and what was that she saw as a young boy dressed in a colorful attire towards the end of the movie. Other than this the movie won't disappoint you and if you have a liking for Shyam Benegal's middle cinema then this one is a must watch!
The story is about a Goan family in general and Dona Maria in particular who has to cope with the death of her husband. There are certain aspects of the film that is not very clearly portrayed like for instance what made Dona Maria's character see spirits and talk to them and what was that she saw as a young boy dressed in a colorful attire towards the end of the movie. Other than this the movie won't disappoint you and if you have a liking for Shyam Benegal's middle cinema then this one is a must watch!
A Marvellous Triumph of Cinematic Excellence
abhijeetkushwah25 January 2023
Warning: Spoilers
Few Hindi films approach Goa sensitively enough to uncover the authentic beauty of its unique culture and history for their audiences. In most films, Goa is fetishised and its people are caricatured (think about the portrayal of all the Mrs Braganças you have yet encountered in Hindi cinema). Shyam Benegal's Trikal (Past, Present, and Future) is a healthy departure from these tendencies as it consciously attempts to authentically bring the life and culture of the Catholic-dominated South Goan village of Loutolim of the 1960s to the silver screen and, in the process, wittingly or unwittingly, makes colonial Goa perhaps the most important 'character' of the film.
Set in late-1961 Goa, sitting at the cusp of liberation, Trikal follows the chaos taking place in the wealthy Sousa-Soares family's Old Goan mansion in the wake of the death of the patriarch of the family, Señor Ernesto Sousa Soares, whose sudden death comes during the visit of a Lisbon-based Goan-origin family seeking the hand of his eldest granddaughter, Anna. As the riveting family drama progresses with its many twists and turns, the traditions, superstitions, values, and complex family and community dynamics of Loutolim slowly lay themselves bare before the viewer in a visually breathtaking fashion. To open the film, Benegal makes excellent use of Naseeruddin Shah as the nostalgic adult self of Rui Pereira, a nephew of the closest family friend of the Sousa-Soares family who spends his childhood in the mansion in the 1950s and 60s and returns 25 years later to find it virtually abandoned.
The movie is replete with historical references that add another layer of authenticity to its story. The political struggle for Goa between India and Portugal in the 1950s and 60s forms the backdrop of many of the events transpiring in the film and contributes to the persistent feeling of uncertainty that Benegal uses to great effect to convey the tension prevailing in the Sousa-Soares mansion and presumably, by extension, the rest of Loutolim and Old Goa. The use of the ghost of Kushtoba Rane, a 19th-century rebel belonging to the Rane clan of Satari that resisted Portuguese rule in Goa, serves as the movie's connection with Goa's past. He makes poignant references to the violent excesses of the Portuguese in their 400-year-long rule of Goa that led to the erasure of its previous identity. A non-Goan viewer would be well-advised to scrape basic acquaintance with Goa's colonial history before watching Trikal to make sense of the historical references woven into its rich narrative.
Shyam Benegal's direction is engaging and flawless and brings out the best of his brilliantly cast actors. Ashok Mehta's extraordinary cinematography makes this film a spectacular treat that can be devoured for its visual beauty alone. Vanraj Bhatia excels in the music department, but mention must be made of the splendid performances of such legendary Goan musicians as Remo Fernandes and Emiliano da Cruz, among others, who lend to its music a rollicking Goan flavour. In the acting department, Naseeruddin Shah, Leela Naidu, Keith Stevenson, and Neena Gupta impress the most but the entire ensemble cast carries the movie forward elegantly. Shama Zaidi's chaste Hindustani screenplay may feel a little 'at odds' with the visuals at first and takes a little getting used to, but once that happens, it works brilliantly for Hindi speakers and by the time the movie folds into its beautifully written concluding monologue, the viewer experiences oneness with the words being spoken, a most powerful experience that, along with its splendid direction, stellar acting, and thoroughly enjoyable musical performances, make this film a marvellous triumph of cinematic excellence.
Set in late-1961 Goa, sitting at the cusp of liberation, Trikal follows the chaos taking place in the wealthy Sousa-Soares family's Old Goan mansion in the wake of the death of the patriarch of the family, Señor Ernesto Sousa Soares, whose sudden death comes during the visit of a Lisbon-based Goan-origin family seeking the hand of his eldest granddaughter, Anna. As the riveting family drama progresses with its many twists and turns, the traditions, superstitions, values, and complex family and community dynamics of Loutolim slowly lay themselves bare before the viewer in a visually breathtaking fashion. To open the film, Benegal makes excellent use of Naseeruddin Shah as the nostalgic adult self of Rui Pereira, a nephew of the closest family friend of the Sousa-Soares family who spends his childhood in the mansion in the 1950s and 60s and returns 25 years later to find it virtually abandoned.
The movie is replete with historical references that add another layer of authenticity to its story. The political struggle for Goa between India and Portugal in the 1950s and 60s forms the backdrop of many of the events transpiring in the film and contributes to the persistent feeling of uncertainty that Benegal uses to great effect to convey the tension prevailing in the Sousa-Soares mansion and presumably, by extension, the rest of Loutolim and Old Goa. The use of the ghost of Kushtoba Rane, a 19th-century rebel belonging to the Rane clan of Satari that resisted Portuguese rule in Goa, serves as the movie's connection with Goa's past. He makes poignant references to the violent excesses of the Portuguese in their 400-year-long rule of Goa that led to the erasure of its previous identity. A non-Goan viewer would be well-advised to scrape basic acquaintance with Goa's colonial history before watching Trikal to make sense of the historical references woven into its rich narrative.
Shyam Benegal's direction is engaging and flawless and brings out the best of his brilliantly cast actors. Ashok Mehta's extraordinary cinematography makes this film a spectacular treat that can be devoured for its visual beauty alone. Vanraj Bhatia excels in the music department, but mention must be made of the splendid performances of such legendary Goan musicians as Remo Fernandes and Emiliano da Cruz, among others, who lend to its music a rollicking Goan flavour. In the acting department, Naseeruddin Shah, Leela Naidu, Keith Stevenson, and Neena Gupta impress the most but the entire ensemble cast carries the movie forward elegantly. Shama Zaidi's chaste Hindustani screenplay may feel a little 'at odds' with the visuals at first and takes a little getting used to, but once that happens, it works brilliantly for Hindi speakers and by the time the movie folds into its beautifully written concluding monologue, the viewer experiences oneness with the words being spoken, a most powerful experience that, along with its splendid direction, stellar acting, and thoroughly enjoyable musical performances, make this film a marvellous triumph of cinematic excellence.
Fascinating
ranikaith1 June 2020
Iam currently on a shyam benegal movie trip, trying to watch his most important works. And i were not disappointed. Trikal is a most delightful movie dealing with dysfunctional family structures in the backdrop of indias newly gained independence. Goa( a former portugese colony) is facing changes, as its going to be freed from its colonizers. In the centre of the story stands the matriarch of a wealthy influential Goan Family, who after the death of her husband,has now to decide about the fate of her family. The music, the atmosphere, even the clothes were fascinating and unique, giving a hint about the rich and interesting Goan (in this case upper class) culture, who was heavily influenced by its long period of colonization. Although the story displays mostly the happenings surrounding Family members and friends, it doesnt fail to give insight into the History and political ongoings. Interesting was also the nearly satirical way, in which shyam benegal showcased the privileged and influential family. But sometimes the story was really slow and kind of predictable. But this is only a minor aspect in this thoroughly amazing Film.
A haunting experience
rtoac118 January 2024
This is a Hindi language film created by Shyam Benegal.
It's a haunting film - in the sense that it stays with you and doesn't leave you after. Many shades of human character are brought to the fore. All in the backdrop of Bharat's liberation of Goa from the Portuguese. One gets to see the mindset and culture of the people - some who identify themselves more as Portugese than Bharatiya.
The film is very introspective, played out in flashbacks of Ruiz when he comes visiting an ancestral property currently in ruins.
Leela Naidu as the matriarch is very good. But Neena Gupta stands out for how the local Bharatiya were exploited during the Portuguese occupation. Doing errands both menial and dangerous. Satisfying them and sacrificing themselves. Sad and that's the part that stands out.
Brilliant story with the monologue at the ending that makes you think..
It's a haunting film - in the sense that it stays with you and doesn't leave you after. Many shades of human character are brought to the fore. All in the backdrop of Bharat's liberation of Goa from the Portuguese. One gets to see the mindset and culture of the people - some who identify themselves more as Portugese than Bharatiya.
The film is very introspective, played out in flashbacks of Ruiz when he comes visiting an ancestral property currently in ruins.
Leela Naidu as the matriarch is very good. But Neena Gupta stands out for how the local Bharatiya were exploited during the Portuguese occupation. Doing errands both menial and dangerous. Satisfying them and sacrificing themselves. Sad and that's the part that stands out.
Brilliant story with the monologue at the ending that makes you think..
Bloodline afterall matters, what else do we have?
ridi-arahan5 July 2020
What worked:
- the movie as a whole works; one of the few movies in Hindi which is beautifully shot, edited, written and directed. The ensemble cast are justifiable and these characters have their own subplot and layers on them. I was pleasantly surprised by the camera work. The movie is thin sliced narrative with multiple plots working together on the wholesome theme. The set design, costume and dialogues are rich which adds to the music and culture of the Portuguese Goan.
- slowburn; the narrative is diverted and the movie takes a bit more time to set the mood of the movie.Although the movie is engaging and rich, we keep wondering for most of the movie where it is directing, at least for me personally.
- metaphorical; the title of the movie gains its worth once the movie experience is completed and wisely contemplated. I wish I would have some references or some more scenes that lead me to justify the title. There is some but I would have wanted more.
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