Eating Out

I picked up Adoor and wife Sunanda from their beautiful house, a traditional Keralanalukettu, and headed for the Taj where the elegant lobby offers a splendid view of themonsoon sea. As we sat admiring the seascape in the spacious restaurant, the chef droppedby to enquire if we’d like anything special. “I am a non-vegetarian and fish ismy favourite dish,” said Adoor.
The meal began with Meen Pollichathu (fish of the day Aikoora (sear fish) coated withmasala, wrapped in banana leaf and cooked over burning embers) which Adoor could onlydescribe as “fabulous”. This was followed by Appam and prawn curry. Appam ismade from rice powder fermented with toddy or yeast and the giant prawns were cooked withmasala in coconut milk. Midway through the prawn curry, Adoor explained his philosophy ofmovie-making—that an audience should be exposed to the characters’ complexities.“Boy does meet girl but not in such obvious fashion. It should only be implied as inmy Elipathayam,” he said.

The next course was rice and chicken fry with buttermilk curry and a vegetable dish. Aswe dug in, Adoor told me about his proposed film. “This has been the longest intervalbetween two of my films,” he said. “When one makes a movie, one lives it. I needtime to wean myself away from the earlier creation. Continuity between films isinevitable, but it should not become repetitive either,” he explained.

Meanwhile, our photographer commented that he was going to the US to studycinematography. “You learn nothing in the States. The Poona Film Institute (fromwhere Adoor passed out) is the best institution to learn the craft,” said Adoor. Heregrets the angst of the now-generation unlike the hopeful generation of the past. Butthis sombre mood evaporated as the dessert appeared. We went for Ada Payasam, anotherlocal delicacy made from rice-flakes, jaggery and coconut milk, liberally sprinkled withraisins and cashew nuts. “Mmmm, lovely,” said Adoor. I could have said that ofour conversation too.