outside the system of untouchables, and they are the ones who bring change to the system. Considering the mythic undercurrents of the film was this deliberate, or accidental? KM: For me the actual moment.of change, and the sacrifice for change, came when the old man Malo jumped down into the well. It is the blood spilt then that provides the water and the expression of revolt. AK: But the old man is not the one who brings in a new consciousness, it is these two who do what to the extent that it happens in the film. Did you see this consciousness on the mythic or the historical level? JPSU: Let me intervene with what I thought happens. When I saw the scene of the father sacrificing himself, a father who is not even the real father but an adoptive one, I saw this as a sort of execution. The execution that was being demanded by the ruling sections. And then you see him twice, the first time when he falls and you think he's gone, the second when he rises with the bloody head. This actual execution was, I thought, what made the execution of the son ironical. This was what I thought Ketan meant when he said earlier that he wanted to subvert dominant forms. By the myth the son would have sacrificed himself, and indeed he does but not before this event—the latter's death—transforms the event of that ritual sacrifice completely. This was what really made the film a great one for me, because of its restrained political nature. It opens up different levels of meaning. Journal of Arts and Ideas " Q\