Why most films end with what
protagonist wants? Watch Sairaat, Fandrey, where circumstances are hero & norms
of the society we live in are conclusion. The graph of characters evolve in
pace with socio-political, socio-economical metrics, not with Bollywood economic
indices. Nagraj Manjule’s clarity of society is so well mirrored in these two
films, that you almost hooked up with emotional journey of Archie, Parshya,
Langdya Pradeep and Jabya (Fandray) from the word go.
Sairat now Fandray Later
A simple aspirational-musical
love story with cast n class clash blend with the cultural paradigms of Bittergaon,
am not sure about the intention of Nagraj to choose this name. You will
understand this line post watching movie. Google quickly comes up with acidic, acrid, tart, sour, biting, unsweetened
when I search for meaning of Bitter. True to the second half of proceedings of story.
However, the first half is decorated with aspirations, joy n celebrations of
love n friendship.
The “SlowMo”s of Parshya, jumping into the river-the moment he hears a
sound resembles Archie, deep dive into the well-to have a glimse of Archie, dancing
on the way in the fields or dancing while waiting for train to cross-to meet
Archie for the first time, are few heroic moments. The rest are true to what we
are (I mean they are). You know what Parshya is capable of, you feel for him
when he is beaten and excite when Archie confronts goons with a pistol. You
know Archie as well, she rides bullet to college, tractor to fields and horse
to take bath. So who is hero here?
The conversations are simple,
landscapes are real and the music is heart for Sairat. Ajay-Atul compositions
compel to you keep Sairat tracks on loop for a while after you watch, for sure.
The music duo live recorded with symphony orchestra for the first track “Yad
Lagla”. The title track “Sairat Zaala ji”is full of Indo Western beats and
Piano notes. You will chorus/shout with Ajay’s rustic and Chinmayee’s sweet voices
during this track. Shreya ghoshal’s rendition of “Aattach bay aka” is in the middle
of the album and ratings with twists n turns. The “Zingaat” is a catchy tapori street
dance number with vocals of Atul-ajay. The album reminds us of early Ilayaraja
with notes of Indian flute and rousing return of symphony orchestra in Indian
films. I don’t understand Marathi but when Archie asks each time“You understand
Marathi or you want it in English”, I echoed each time “I will learn Marathi
soon”.
Like any other love story
both Archie n Parshya elope from comforts/struggles of Bittergaon and arrive in
Hyderabad to face real life challenges. The work hard to meet their ends, they
fight, they learn the language, they form relationships with community and
progress. The agony of this part of the journey is showcased in three scenes, 1-Parshya
twists Archie’s arm, squeezes her face on the pavement middle of the busy road,
he could have slapped, no the pain they went through is enduring not momentary.
2-the not so whole heartedly suicidal attempt of Paryshya and 3-Archie’s
realisation at the station when she confronts an old aged beggar couple.
The reunion of Archie n
Parshya is now celebrated, the results are register marriage, INR 40k pay check
each month (together), few smiles, a new rented house with a booking deposit
for new flat and a kid. They named him Akash but calls Tatya (what Archie calls
his father). Now she calls his son Tatya. I guess for a reason Nagraj
(Director) wants this kid to be called as Tatya, to level the field of sufferings
for both the Tatyas. Archie’s affair caused sufferings and socio-political
humiliations for father Tatya, so what the redemption plan is for son Tatya’s
sufferings for rest of his life.
V
