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"You do not have it?" one woman says to another, castes "are all destined to clbadify men, women are a different caste, below all."
In a more animated film than conversations, words are used sparingly, but when they arrive are on the point. Women are also present in limited numbers, but those we meet are the mainstays of the fighting told here. The film Sonchiriya of screenwriter-director Abhishek Chaubey is a lyrical narrative of a bunch of dacoits wandering the gullies of Chambal, some desiring a way out.
Poster of Sonchiriya. Twitter
Sad, poetic and hopelessly sad, it is about unwritten codes of honor among the aberrant people of society, the cruelty of caste and patriarchy and the infinite violence once unleashed. "Dacoits can also be good," says one character more than once. But it's not an effort to romanticize the outlaws in the frame, but to highlight the nature doomed to the failure of social inequality in a world where men think that patriarchy is good for them, even if it can bring them down without mercy.
Bookends between which takes place this story of a band of male dacoits headed by Man Singh (Manoj Bajpayee) in Madhya Pradesh from the 1970s. One time, one of these men refers to them under the name of daaku. Otherwise, in their vocabulary, they are baaghis (rebels) on the run. As they are pursued relentlessly by the police, it becomes clear that at least some of them are trying harder to escape their own demons than the long arm of the law.
We do not know anything about their past, except that they are Thakurs, and that Man Singh and his young partner Lakhan / Lakhna (Sushant Singh Rajput) are haunted by grief they seem unable and unwilling to to reject. Elsewhere in these arid lands, we learn that the now legendary Phoolan Devi (called Phuliya in the movie and played by Sampa Mandal) is thirsty for Thakurs' blood – but not for all. It is clear that Lakhna is fighting a fight in which he no longer believes or is proud. Vakil Singh (Ranvir Shorey), for his part, does not trust Lakhna. Policeman Virender Gujjar (Ashutosh Rana) completes his cleaning strategy for Chambal and seems as personal as professional.
Sonchiriya written by Chaubey and Sudip Sharma, rarely misses a stage. Like the three previous Chaubey enterprises – Ishqiya, Dedh Ishqiya and Udta Punjab – it is rooted in the soil from which it emerges. This rootedness is reflected in all the elements of the film, from the dialect that the characters speak (accompanied by subtitles which, hopefully, will give the Pan-Indian audience it deserves) to their clothes and their concerns. This film has more depth than the most widely promoted, much more flashier Udta Punjab . And like both Ishqiyas he is uncompromising and without feeling sorry for what he says.
His leadership of Sonchiriya is steeped in conviction. With the exception perhaps of three brief scenes in which momentum is intentionally slowed down to unnecessarily intensify melodrama – when a group of men realizes that he has killed the wrong person / s, while a mother tells her son his truth, and in the end between Lakhna and the main character – not a single moment of this story is found inappropriate or irrelevant.
Chaubey's painting is enriched by the decorator Rita Ghosh, fresh from her superb work on Nandita Das Manto . last year, and by the DdP Anuj Rakesh Dhawan, who knew how to transform the bowls of dust into visual gold. Dhawan does not give us pretty frames here. His relentless cinematography does nothing to mitigate the impact of the difficult landscapes these characters go through to get to what seems to be nowhere. Even the river is not pretty but it gives some relief to the eyes. The public is shown a lot of violence, but not lasciviously.
However, the bloodiest murder of history takes place behind closed doors while a human being raging against another, and the sound designer Kunal Sharma, although n & # 39; Do not resort to sensationalism, make sure that we know exactly what is happening without seeing anything.
The Troop Overflows With Talent
Bhumi Pednekar is flawless as the besieged woman who introduced herself to the existence of the gang. With only four feature films under his belt ( Dum Laga Ke Haisha, Toilets: Ek Prem Katha, Shubh Mangal Saavdhan and now this one), Pednekar has already become one of the most versatile young actors in the world. india horizon of the movie.
All the dirt and misery of the planet can not hide the beauty of Sushant Singh Rajput, but the actor badures that what stands out is the bruised and broken spirit of his character . There are a few seconds here and there when Manoj Bajpayee's facial expressions seem exaggerated, but for the most part, he's as fabulous as Man Singh, as he is usually.
Commercial films in Hindi are indifferent, ignorant or ignorant. fear of the caste as a subject, as we recently recalled the shameful way in which she rewrote the film Marathi Sairat as Dhadak . The industry is also largely a patriarchal space, usually telling men or describing women through a restricted male gaze. Abhishek Chaubey's new film, meanwhile, explains how, while oppressive systems crush the marginalized, the cycles of violence unleashed by the dominant communities end up sweeping everyone away, including the oppressors and especially the few wanting to surrender. privilege. Sonchiriya is not afraid, she is conscious and she cares about the situation.
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Publication date: March 01, 2019, 10:39 am
| Updated on March 1, 2019 12:01
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Date Updated: March 01, 2019 12:01:45 PM IST
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