Masaan -- Movie Review

"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..."