W
In many thrillers, tension is often increased through each scene and beat, but Devashish Makhija’s third feature takes a different approach. The manhunt in this film is burdened by a heavy sense of agony. The protagonist Dasru (played by Manoj Bajpayee) is unable to make decisions until he is forced to out of desperation, and even his pursuer Ratnakar (played by Mohammed Zeeshan Ayyub) is struggling. There is no relief from the constant societal exploitation and cynicism in this pressure cooker of a story, with Makhija’s compassion for the marginalized being the only solace.
Dasru, a member of the “scheduled tribes” in Jharkhand, is a tattooed individual who now works as a laborer in Mumbai due to his exile. One day, Phulo Karma, a tribal leader from Dasru’s region, visits his construction site to campaign for an election. Phulo recognizes Dasru from his past as a rebel who fought against the seizure of local lands by her husband’s iron-ore mining company. Upon returning home, Dasru is shocked to find his wife Vaano (played by Tannishtha Chatterjee) brutally murdered and displayed upside down. This tragic event forces him to escape into the streets with his three-month-old daughter Joram in a sling.
Dasru heads straight for his hometown in Jharkhand, with Ratnakar reluctantly following. The pursuit appears disorganized and haphazard, making it all the more believable. The action scenes are chaotic and improvised, leading to limited options rather than a dramatic climax often seen in Hollywood films. One particularly gripping scene takes place in a train corridor. Director Makhija captures the urban chaos of half-constructed buildings and train tracks with a tense, film noir-like aesthetic. As the film progresses, Makhija uses satire to highlight the encroachment of “progress” on rural life. The corrupt cops of Jharkhand, known for their reverence of trees, keep their cell phones in small cages attached to their belts.
The ongoing conflict between modern and traditional beliefs is constantly drawn towards a mythical perspective. An example of this is seen in the haunting image of a tree, representing destruction, standing alone in a desolate quarry. Tambe portrays a menacing presence as the vengeful tycoon, while Ayyub effectively embodies empathy as Ratnakar. However, Bajpayee, known for his breakout role in the gritty 1998 gangster film Satya, excels in portraying raw, realistic emotions. With minimal dialogue and clutching his infant tightly, he conveys panic and desperation through his expressive eyes, resembling a character from Fritz Lang’s M. The film serves as a plea for the marginalized communities in India.
Source: theguardian.com
