Sorry this isn’t happening new age film. Unfortunately the film is more disturbing and hurting personal experience for me rather than entertaining or concerning one. A journalist turned debutant writer-director Anusha Rizhvi has literally ruined the subject of farmers suicide and made a farcical mockery of culturally rooted real India living in small villages. It seems that the film is made for urban audience to have a funny and tongue in the cheek look by lampooning and spoofing the people who lived below poverty line. Rather than highlighting and giving weight to the poor farmer who’s going to commit suicide and his family, the major part of the film hammered us with the farce of excess and exaggeration created by TRP mongering TV media, concocted political circus and above all that loudmouth old age mother lying on bed, giving enough laughing moments to urban audience.
Satire works when film drags you into the character or treatment and strikes you at heart emotionally but rather than satire Aamir and Rizhvi have made a film which is high on hyperbole to tickle urban audience in the name of new age cinema by showing hyperbole reality. Satire works in few frames but the excessive one sided picture and too much exaggeration made the film disturbing mockery of rural culture. When public around me laughing out loudly watching live over dramatized coverage and analysis of Naththa’s natural excretion, it’s hurting me so badly. What a shame!!!
Talking about acting, the film utterly wasted brilliant theater actor like Raghuvir Yadav, appeared on screen after long. Any of his earlier films are far better as films and that’s why in whatever limited role he played it fits his character so naturally. Rajpal Yadav look-alike Omkar Das Manikpuri as Naththa fits in the frame like a real character but poor fellow has nothing much to do except showing his unspoken expressions to camera. Being journalist, director Rizhvi has given much footage to the rivalry of two reporters. Again spoofing English speaking urban reporter Barkha Dutt and Hindi speaking Dipak Chaurasia. Naseeruddin Shah’s presence is suitable cameo but the amalgamated cast of late Habib Tanvir’s theatre is natural and impressive, especially the characters played by local opportunist Bhaiyaji and local print media reporter Rajesh.
There’s just two scenes which let me felt the noble and concerning one. The first is showing the skeleton like man digging his own grave and the last fast and shaky journey bridging the two compartmentalized India- culturally rooted rural to the happening urban, barren village farms to urban skyscrapers luring the middle class to have flat of their own with lucrative hoardings and taglines. But besides these two, the film is hurting one on many accounts. One has to read ‘Everybody loves a good draught’ written by freelance journalist P. Sainath. It’s well researched and brilliant journalist piece of writing neither just reduced to statistics but making you felt the heart of darkness of BPL India still waiting for development after sixty three years of Independence.
Sorry for being too emotional but rather than burning your bucks on this, watch Satyajit Ray or Shyam Benegal’s social reforming cinema or buy the copy of above said book on this Independent day to understand the real rural India from more closer, more realistic and more concerning perspective.