'The Elephant Whisperers': Advertising the best of humanity

The Elephant Whisperers

Tamil (Documentary/Netflix)

Director: Kartiki Gonsalves

Rating: 3.5/5

The Elephant Whisperers’, the Indian documentary that has been shortlisted for the Academy Awards, is simple at its core. The documentary film is a portrait of familial love — one that transcends species. It focuses on Bellie and Bomman, two members of the Kattunayakan tribe in the Mudumalai Tiger Reserve, who care for elephants Raghu and Ammu. Both calves were separated from their herds.

Raising them meant hard work. While Bomman considers Raghu a godsend, Bellie thinks of him as a child. The visuals draw parallels between the children of the tribe, and the calves. The affectionate refrain, “you are very naughty,” delivered with smiles, is particularly heartwarming.

One shot stands out in particular. The camera brings into focus a ringing bell — a typical school scene. In a moment, this is followed by footage of Raghu at the elephant camp as mahouts. The visuals — replete with verdant surroundings — are as tender as Bellie and Bomman are to the elephants. Their parentage also brings the two together, and the music swells — the family is complete.

The couple’s kinship with the elephant calves is also inspired by a culture that loves nature. In fact, they explain that the Kattunayakan tribe protects the forest even though the tribe lives off of it. “We do not take more than we need,” says Bomman, as the camera pans to men hanging off of rocks, collecting honey. Focusing on this bond, director Kartiki Gonsalves portrays a way of life that many in urban areas have lost touch with.

By weaving in the birth and calfhoods of Ammu and Raghu, the film also encapsulates the consequences of human interference and climate change. Through its playful shots of the elephants, the documentary makes a powerful comment on love and its ability to create harmony between humans and nature.

While the stories of Raghu, Ammu, Bellie and Bomman come together seamlessly, the lives of the Kattunayakan tribe does not find much mention. Also missing is the relationship between the forest department and the community and its hierarchies.

It seems as though the documentary is making a deliberate attempt to remain as simple and uncomplicated as possible. It is so insistent, in fact, that it stays away from making socio-political statements. Though refreshing, this take may come off as a tad naive. Told from the eyes of Raghu, Ammu, Bellie and Bomman, the narrative is one of care and kin, one that advertises the best of humanity.