Malayalam film "Nottam" excels. Depicting the soul of Koodiyattam - Kerala's ancient Sanskrit theatre art form, director Sashi Paravoor brings alive the art's significance both on stage and beyond it with great sensitivity.

Interestingly, the film begins with the traditional beating of the drum (Mizhavu), signalling the start of a Koodiyattam performance.

Fascinated by the art form, Paravoor decided to produce and direct the film after UNESCO recognised Koodiyattam as a masterpiece of intangible cultural heritage. He conducted four years of thorough research on its intricacies.

"Nottam", which literally means 'The Gaze', highlights the facial expressions and intense eye movements, which are an intrinsic part of the theatre-dance. In Paravoor's words, it symbolises the world's 'gaze' slowly recognising the art form.

Paravoor familiarises the audience with the complex, ritualistic art form while essaying the story of a well-known Koodiyattam artist in a remote Kerala village.

Vasudeva Chakkyar, played by seasoned Malayalam actor Nedumudi Venu in the film, has dedicated his entire life to the art and its sustenance.

Saraswati, an equally proficient artist, is Chakkyar's partner on stage.

Interwoven into the narrative are significant forays into human relationships, particularly the one between Chakkyar and Saraswati, brilliantly portrayed by Nedumudi and the erudite Margi Sathi, the latter a consummate master of the ancient art.

Despite being drawn towards each other in their early years, Chakkyar marries a girl of his father's choice. However, the continuing bond between the two is reflected in various subtle nuances.

The storyline slowly traces the transformation of the strictly conservative chakkyar household when the Western-educated son brings his friend - a Christian living in the US to film and record the greatness of the art and the artist.

This also opens up opportunities of taking the art to different parts of the US, highlighting the imminent international recognition of the art.

The positive note in the modernising process is refreshing.

Jagathy Sreekumar, an established Malayalam actor, gives a sterling performance as both a key Koodiyattam artist and as Unni, the caring, fun-loving confidante of the chakkyar.

Paravoor maintains the pace of the film by making sure that no shot is out of place, whether it is the emotionally charged scene of Unni's untimely death or the way drunken VIP guests walk in to watch Chakkyar's Koodiyattam performance.

The two romantic numbers did seem to take away from the momentum of the film but they, nevertheless, captured the spectacular natural beauty of Kerala with its lush green fields, coconut palms and gurgling streams.

Shot on the outskirts of Pattambi town, the cinematography by K.G. Jayan is breathtaking.

"Nottam" focuses on the ability of Koodiyatam to transcend space and time and heralds the awakening of the world to the 2,000-year-old dance-theatre tradition.

Despite having received several awards, Paravoor lamented at the negative response from all distributors. He has, however not given up hope and says: "I plan to personally take it to film festivals and hire theatres if possible."