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Of the scenes that any viewer could imagine from Nagraj Manjule, the film’s first scene is the one that destroys everything one might associate with a director like Manjule, thanks to his background, which is certainly one of the few. Might also be prompted to withdraw. Where will his ideology lean? Razia, who is accused by her husband of adultery because she believes that she only has the ‘power’ to produce boys, she starts calling him by all kinds of names. Frustrated, she walks out of the house as her husband gently obeys her order not to create a nuisance on the street. And then she replies, “Are you scaring me about divorce? I am the one who says ‘divorce, divorce, divorce’ and walks away. Who would have thought on this junk land that Manjule would launch a film on poverty and systemic oppression with claims of reform by Modi or the BJP. but then, he is Manjul for you.
In the creative shot title credits role, Ajay-Atul, the music director, gives a nice, heep background score introducing the characters/kids of the hut one by one, the difference being that they are walking in a non-digital, dingy lane. is Nagpur, or as some greats say, Second India; Those full of mothers washing their children’s butts in broad daylight, or husbands beating their wives, day after day, or rather, week after week, as if episodes were normal like two arrows Ramanand Sagar’s ‘Ramayana’ used to kiss each other. The main character of this bunch of barren (‘Jhund’) and here is the movie ‘Don’ aka Ankush Masram. [In a brilliant scene later, when all the kids are expressing their stories of poverty, he just says, My story is the same; like all my friends here; and controls his tears as hard as he can while all others recount their difficult lives in detail.] So these are the kids in whom a close-to-retirement coach from St. John’s College sees potential, and lures them 500 rupees to play football instead of kicking their talents around an empty scrap-yard container. . Now, these kids are baffled that the ‘uncles’ have been bonded, but still play for money, of which only half, they intensify every day by chain-snatching, robbing cellphones, or stealing some coal. Earn dangerously by climbing on speed trains. and steel. And so, as everyone knows, the story is based on Attempt Pro. Vijay Barse’s (Amitabh Bachchan) to reform the slum children and youth and wean them away from drugs, cigarettes, and other addictions and criminal activities. The journey of that transformation is captured here with a mix of less ‘masala’ and more ‘documentation’ but as far as cinema is concerned, the marriage is a permanent one with few rifts and tussles.
Narrative and visual techniques- exquisitely shot by Sudhakar Reddy- are employed here. The first wonderfully choreographed chase sequence next to the railway tracks where Akash Thosar’s Sambhya (here playing a harasser as opposed to ‘The oppressed of Sairat’) chases Don, or all those scenes where Don Running away from slum gangs or the police, the latter is extrapolated to a fine court scene. So if one asks how these people have such poor and lean bodies except in the Instagram gym of Abraham Sir or Mr. Roshan, a construction worker explains that after working inhuman hours, one has to drink, but the body becomes so exhausted, even unable to perceive the alcohol and fall asleep; It doesn’t know when it goes to sleep, but sure as hell the sun rises every day, the body wakes up running At the construction site to earn daily wages. After defeating college players in a friendly match, the ‘Slum Dogs’, as they are called by a ‘cheerleader’, watch the game hooting and drinking and convince themselves that these guys are really kicking ass. are, pardon my french, i meant football and bet with themselves ‘real’ money, the kids dance happily after winning the game. And then, he dances’wakda tikda‘ (Meaning neither here nor there in Marathi) on the occasion of celebration of Babasaheb and Chhatrapati Shivaji and Jyotirao Phule. This is no ordinary character; this is She The person who didn’t get the chance, who couldn’t do anything to change the status quo, but now doesn’t want to miss the chance to see the change happening. It may be pleasant for us to watch their movements, but behind those antics, such as Chaplin’s tramp walk, there is a history of pain and suffering that is hidden but also got to know, When Amit and his son go to a minister to get some funding for an international homeless football team tournament, his son asks him why he is not dressed formally. [Throughout the film, Amit is dressed in casual sportswear.] The when and why he finally wears formal clothing, has visual and written mastery. look at the ‘Belongings‘ The kids carry on this song and how it turns into a climactic scene. Amit K Vijay explains, in theory, the science/engineering behind the flight of an airplane and how it’s finally exhilarating. There are many scenes like this, and one has to ‘pay’ the ticket price and attention to connect the dots.
Manjule’s introduction to Monica (Rinku Rajguru) is spectacular: she is caught passing the football, and the rest of the, back-story, kicks later. Now here, he explains to us what identity means to people from different sections of society. And he portrays it beautifully: So, Vijay and his wife arrive at the Nagpur bus station in a car, catch a bus, board a bullock cart, meet Monica’s parents, and ask them to get an Indian passport. Pay money to start the preparation. , Contrary to this difficult journey, Monica and her father embark on a journey to discover Monica’s ‘identity’. ‘Are identitypat’ says one Influential Shopkeeper. do you cry, or do you laugh? Manjule makes you laugh without realizing the pain that will happen later. [Very cleverly, Manjule makes Monika and her father talk in broken Hindi and their native language; and when they talk in their native language, he purposely doesn’t display the sub-titles, making the audience feel the frustrations of the family. Remember ‘Dil Se’?]
college championships or the painful processes that teams go through to achieve them Identification The attention span of today’s average cinematic audience could have been shortened by about 20 minutes. But then, sometimes I wonder, how can one whoosh Beyond one’s life experiences and sufferings? For a spectator spending a few bucks or crypto it takes impatience, but for them a successful moment is an event while a bad one is routine. Still, the film could have been shortened by about 20-30 minutes for the greater cinematic purpose, while retaining the essence.
It’s just that some scenes are so organic: for example, the way Manjule shoots the scene after a college-friendly match win is just spectacular; The first 3-4 people who describe their lives don’t shed a tear, but when they start listening to others, living experiences they know, they start crying. And all this is eventually captured with the banjo player from the slum playing ‘Saare Jahan Se Achcha’. And then there’s Manjule’s obsession with murals: in ‘Fandry’ Kishore Kadam and his son carry a stone pig right in front of Savitribai Phule’s mural; Here children paint ‘paan-masala’ and paint to clean the walls of stink. It seems as though Manjule wants to capture the progress of mankind but remind us of the Stone Age.
Coming to Amit, the man has a bad habit of simply baffling the audience. It is such an ‘un-Bachchan’, punchy performance that one leaves one wondering if it was Amitabh who was seen on screen. Ramu once said that he is the only actor in Indian cinema before whom you can hold the camera, disappear and still release the film without giving a single dialogue. Manjule has proved this. Be it his optimism – walking away from the legal pressures of the bureaucracy – he subtly changes his words and expressions in front of the college principal; From “I can see them changing” to “I can see a change coming” that someone is unaware of what he just said Big Reference. Despite such a powerful personality, he can remain in the background that one can feel his brilliance. In the court scene, it seems that Manjule has given Amitabh too much leeway to launch Amitabh into a monologue initially, but as the scene progresses, the way Amitabh pulls himself up and that scintillating voice serves a bigger purpose. pull back for. Getting surprised. It is only in the climactic scene that Manjule/Sudhakar turns the camera and captures Amitabh’s face gracefully, rendering the meta of Amitabh’s character as pivot to the film and thus, to the industry. [The ‘cutter’ scene at the airport security check is an emotionally heart-wrenching scene for both ‘Don’ and the audience as he throws it in the dustbin right in front of the ‘Khakee.’]
The line of the year, Decade of Hell, for me would be what was said so important by the kid when Vijay admits he has no money to pay to play football: “Ja shakha ke bin bhi dekh hai. Take.”