"Sangam
insaan ko do baar aana chahiye, ek baar akele aur ek baar kisi ke saath"
As the
movie draws to a close with a poignant shot of the boat heading towards the
sangam, probably symbolic of the characters move towards new beginnings in
their own respective lives, with Indian Ocean's Bhor playing in the background,
there is a feeling of inevitability and amusement about human existence and its
meaning in the context of a plethora of emotions that surround an individual.
With a
story line that is devoid of any sub plot convulsions but filled with layers,
each layer to the character, sub plot converge seamlessly.
The film
is a slice from the lives of individuals, capacitated enough to look beyond the
social norms, brave enough to question morality in its substance and form,
eager enough to cross cultural barriers, yes vulnerable at times but capable
enough to give the desired direction to their lives.
There are
primarily 3 major sub plots. The one involving Devi and her desires, her
subjective truth, her struggle to instill the confidence back into her
existence dwells on a linear narrative pattern.
The plot
involving Devi's father, Vidhyadhar Pathak and his struggle to come to terms
with the enormity of situation at hand and to preserve the image in a social
set up coupled with the ever tightening strings of financial obligations makes
it a delightful sub plot to watch. Also a minor portion including Vidhyadhar's
relationship with the little kid serving as his help is delightful.
But where
Masaan really scores is on the way the narrative unfolds on the story of Deepak
and Shaalu. This is a plot filled with moments of untimely blushes, simplistic
conversations and most of the relatable and identifiable situations fill this
part of the story in abundance.
Richa
Chaddha as Devi is extremely impressive. Her confidence develops as the movie
flows along and by the end of the film we find Devi's life coming a full
circle. From the amateurish eagerness to paving way to lead her life on her own
terms, she plays it with a very matured understanding, both of her character
and the context in which her character is supposed to react.
Sanjay
Mishra has been in supreme form. Known largely for his comical stint, he came
into his own in a gem of a movie called Aakhon Dekhi, amazed all and sundry
again in Dum Laga Ke Haisha, gives a terrific performance yet again in Masaan.
The pain of social stigma, coming to terms with the mindset of his daughter and
finally accepting and acknowledging his insecurities of her daughter leaving
him in a brilliant scene where Devi expresses her desire to move out of
Benaras. Words fall short to describe his immaculate understanding of his
character and the subtlety with which he brings a transformation in his
character's mindset and views. Excellent Work.
There's
been a long time since an actor impressed so much with his debut effort. Vicky
Kaushal has arrived folks and how! An excellent display of method acting
coupled with the camaraderie with his friends, mannerisms, all of it make it a
treat to watch him perform. However there is one scene that stands apart, along
the banks of Ganga, where Deepak breaks down finally, comforted by his friends.
Terrific. Never for once you feel as if there is an act going on. Deepak fits
into the movie's premise as naturally as it could ever be. After a really long
time there has come an actor who plays along with the emotions through his
eyes! Grief, anxiety, ambition, willingness and happiness all from the eyes,
words reduced to minimal.(Check the scene where he asks the boatman to turn the
boat post his conversation with Shaalu)
Shweta
Tripathi is unparalleled with her portrayal of Shaalu. There's the genuine
blush when on call with Deepak, playfulness in their meetings and purety in the
emotion as one would find in a Nida Fazli Ghazal.
Neeraj
Ghaywan stiches along a tale spread across a myriad range of emotions, emerging
from characters from different walks of life and society and mixes it all with
relative ease, categorically setting up Benaras as a silent character in giving
shape to the mould of his story telling pattern.
He sets
up extraordinary scenes in the ordinary setup. Vidhyadhar's and Devi's
confrontation, Shaalu reciting poetry to Deepak and his incapacity to
understand a single rhyme, Deepak's outburst as he discloses his identity and
address, Shaalu's maturity as she accepts the calling of love and speaking it
out to Deepak while on move to pilgrimage are certain scenes to be watched over
and over again!
From the
beautifully shot Tu Kisi Rail Si Guzarti Hai to an effective and evocative Mann
Kasturi, the director builds up emotions from the routine and ordinary.
The
cinematographer brings out the story's part of silence and unsaid words through
his camera and does a commendable job.
This is
one film which should be looked upon for the way it includes the songs in the
narrative. Indian Ocean's work has been brilliant and 'Tu Kisi Rail Si' and
'Man Kasturi' were easily amongst the best soundtracks of 2015. Varun Grover's
lyrical quality shines efficiently in the tunes of Indian Ocean.
There
could be a never ending write up on how small and routine has the potential of
delivering the extraordinary and how issues and mentality of a certain society
can be challenged and questioned without any melodrama but I shall let Masaan
do that talking.
This
isn't a movie to be reviewed. This is a movie to be experienced. This is a
story to identify oneself with and raise questions on the "why's"
rather than the "how's". It makes it's stand on moral issues, ethics,
societal stigmas and honesty pretty clear without making it even evident to be
solely focusing on them.
Hats off
Masaan team. It'll always be a regret to have missed out watching this one in a
theatre.
To sum it
up,
"
Mann Kasturi re, Jag dasturi re, Baat hui na poori re..."
