Review of the movie Sonchiriya: Sushant Singh Rajput, Manoj Bajpayee and performed live and breathing their roles

Bajpayee is a clbad act again, Rana broods with intent, Shorey is Fire and Sulfur, Rajput Exudes Angels and Equal Determination and Pednekar claims his place in male-dominated distribution and in a defensive setting with a measured turn that evokes a life affirming and ennobling compbadion.

The outlaws of this film are not prestigious fugitives strolling on sturdy stallions as knights in shining armor survive with frugal meals and their weapons are at best simply functional. In one scene, a smuggler offers them better weapons – 35,000 Rs for one and 60,000 Rs for two, remember that the period is mid -19s 0s – but the leader of the dreaded Thakurs band is too short money to get the deal.

His men are deeply conflicted individuals who have rebelled against a society that has put them to one side – they are constantly talking about their desperate situation. and, in their most lenient moments, allow themselves to dream of normality after being surrendered and purged of their imprisonment – and must inevitably tackle moral dilemmas related to violence and violence. its consequences. Memories of an involuntary bloodbath that they caused in a Gujjar village haunt the dacoits, defining their subsequent acts of despair and redemption.

Sonchiriya announces his intentions even before the light goes out – the buzz of flies on the soundtrack leads us from a dark frame to an extremely close plane of 39, a dead snake lying on the path of Thakur's gang. The stench of death and fear permeates this inflexible investigation into the pitfalls of rebellion and malevolent masculinity that solicits the blessings of a mother goddess – Maa Bhavani – the reigning deity of the Chambal Valley. But it is at the same time a place where rape and repression are commonplace and where women are condemned to a veiled and voiceless existence. Sonchiriya immediately has a remarkable interest: the burning portrait of patriarchy and the prejudices he painted, although it was established more than forty years ago, is still relevant.

Equally interesting in this account of guilt and the atonement – here, lives must be endangered every day and every hour for the sake of self-preservation – is its strong ethical foundation. One of the key points of the plot in the film concerns the character of Man Singh (Manoj Bajpayee in an exceptional special appearance) making a fatal outing led only by a conscience call. One of the two most reliable men, Lakhan Singh (Sushant Singh Rajput), warns of the serious dangers that lie ahead. The other, Vakil Singh (Ranvir Shorey), chooses to follow his leader without asking any questions.

This bold raid of the gang of Man Singh on the home of a wealthy jeweler on the day of the marriage of the man's daughter – it coincides with June 25, 1975., the day on which the urgency was promulgated in India, a fact pointed out by the voice of Indira Gandhi announcing the pbadage over AIR Akashvani and the slogans of a van parked on the site broadcasting the program in 20 Prime Minister's points and not saying that "Inki ladaai hamaari ladaai" but also urging people not to fall prey to rumors – "dheeli baatchit se bachiye ". How difficult could it be to understand this difficult situation in the era of great claims and false news in which we live?

Man Singh puts into perspective the timeless situation of dispossessed people. When someone advises him to be cautious about the police, led by a tireless inspector Gujjar (Ashutosh Rana), the outlaw says, "Do government bullets already killed somebody? The promises of the politicians have killed. " He then imitates an electoral speech ( Bhaiyon aur behnon … ) while the film moves on to the next sequence.

In this universe where life hangs on a thread, even the police work in much the same way. a criminal gang, armed with the license to kill at will. But is it free from the malaise of caste prejudices that afflicts the rest of the country? Not even in dreams. We see two subordinates of Inspector Gujjar explain how humiliating it is for them, both Thakurs, to take orders from a Gujjar.

The film's title comes from the name of a 12. Dalit, aged 1 year, raped and whose well-being becomes a mission for Lakhan and a woman fleeing the domestic violence, Indumati Tomar (Bhumi Pednekar), with her husband and teenage son on his trail. As the fugitives cross the ravines to the nearest city, where the girl can get the medical care she needs, the film evokes the landscape of Chambal with breathtaking accuracy, attribute enhanced by the authenticity of the Bundelkhandi dialect. the characters speak (which requires the use of subtitles throughout the film).

As the cadence of the tongue and the shrieks of black humor grow on us and the sound design envelops us – the silences that intertwine the shots and the score can be "heard And not just experienced and experienced. The cameras and the fluid lights capture both a sensation of agitation and an air of presentiment, both in the dark and closed spaces as in sunny outdoor sequences. The balladic songs (music: Vishal Bhardwaj, lyrics: Varun Grover, voice: Rekha Bhardwaj, Sukhwinder Singh, Arijit Singh) firmly support a fabulous fable from an imperfect country that avoids easy options and sticks to its weapons while at the same time. along the way.