Samsara literally means the world; but often it is used in the philosophical sense to convey worldliness – our attachment to the material physical world that is our reality.The film deals with the conflict(?) of the human soul (which seeks to be liberated) with this samsara.
The main protagonist Tashi is a Buddhist monk. After three years of meditation in an isolated monastery, he is brought back by his elderly mentor whom he refers to as Appo. The opening scenes of the film immediately transport us from our urban environment to the raw natural landscape of Ladakh. The sheer beauty of this place, its ruggedness brings with it a sense of an existence where nature is all around; a companion influencing our moods, our thoughts. You get a sense of CREATION of which as humans we are a part.
The retinue of lamas pick up the inert body of Tashi, cleanse it, revive him and bring him back to their own monastery. Tashi’s friend gently points to the monastery as they reach it and the exhausted Tashi smiles. ( for some reason, Tahi’s smile touched me – it was like coming home, being on familiar and comforting territory again).
Back at the monastery, Tashi is honoured for his achievement. Life at the monastery, with its child-lamas, a dog called Kala and ritual praying/meditating are beautifully captured by the director. When Apo and Tashi laugh at the antics of a chubby little lama, you sense the gentleness, the innocence of their lives.Tashi however is troubled by sensual dreams which his spiritual achievements have not been able to quell.
On a visit to a local home, he meets Pema. His tense awareness of her presence as she serves food and then when he actually sees her face against candlelight – his attraction to her is very basic and at the same time, deep.
As his dreams continue, his friend is disappointed in him. But Apo sends him to meet another lama, a non-speaking, apparently senile old man who shows him erotic drawings which when held over a candle at another angle reveal the ugly banality of human lust.
Tashi is not convinced. Back at the monastery he argues with Apo that even Buddha lived a householder’s life till he was 29. But Tashi was made a lama when he was only 5. How could he be expected to renounce that which he never possessed? And so Tashi leaves the monastery in the night. He bathes in the river and changes into ordinary clothes, frightening away Kala who clearly doesn’t agree with Tashi when he says “it’s me” and runs back to the monastery.
Coincidentally he finds work as a farmhand with Pema’s father. Pema is at first uncertain of whether he should have left the monastery, but her own feelings for him are too powerful. They make love in the open. Her betrothed is furious with her – but realises she has already given her heart. Pema and Tashi get married and Tashi embraces the fulfilment of desire.
There is a poetry to the lovemaking of Pema and Tashi that resonates with “Samsara”. It is man-woman in time. There is no romanticism. Nor is it a mere fact. It is evocative without stooping to any cliché.
The movie is subtle and nuanced. Tashi’s relationship with Apo who is both a father and a spiritual guide; with his friend who admires him and is then disappointed in him; with his rival are all thoughtfully explored. Pema and Tashi’s personalities, their relation with each other are skilfully captured.
As a householder, Tashi is faced with various difficulties which he faces squarely and well.He also has a son. He finds himself sexually attracted to an immigrant worker. In Pema’s absence, he makes love to her but is disgusted with himself afterwards. Confused and dejected, he decides to go back to the monastery.
The climax towards which the entire story is built is truly astounding. On his way to the monastery, Tashi faces Pema whom he has abandoned. The questions she puts to him are what the movie is all about. What does Tashi do? How is his dilemma solved?
The movie is one of the most sensitively and skilfully handled films I have ever seen. While the protagonists live in an esoteric world, their story has a relevance to every person who feels the spiritual aspect of existence. The cinematography is superlative – the performances brilliant. It is dramatic and realistic at the same time. The grandness of its theme is perfectly balanced by the simplicity of daily existence. While in college I had seen a film called “Iam jumping over puddles again” – a dubbed, European film. The film was the most amazing thing I had seen till then. Samsara gives the same satisfaction.