Every film-maker creates his own signposts. For director Neeraj Ghaywan, clearly, it is the invisible frontier that lies between arthouse cinema and commercial fare. Retaining his firm connect with his Jehovah, Buddha and spiritual muse, along with the belief that harsh spotlight both distracts and distorts, Ghaywan – along with brilliant fellow travellers, writer Varun Grover and casting director Mukesh Chhabra – fearlessly treads the path less travelled. A searing tale of love and loss it rises from its [metaphorical] ashes to offer a real, moving, uplifting experience that takes your breath away. Powered by the audacity of self-belief that sets the film in Varanasi – as against the more familiar and cool metro cities – ensuring that it becomes a vital, throbbing character in the film through exquisite detailing, the trio have really gone the extra mile with a narrative that engages, enriches and empowers in one scintillating sweep!
Emerging from an original story by the director Ghaywan admits that “the original draft concentrated only on the Deepak-Shalu angle. It was only when Varun came on board that it all fell in place.” Sensitively juxtaposing the forbidden fruits of the digital world’s presence in the revered capital of Hindu faith and the inevitable clash between the two – with caste and morality soft targets – ‘Masaan’s’ cataclysmic journey from hopelessness to hope remains inscribed in the heart long after the lights come on.
An Indo-French production, the roles of performers have been hailed roundly by an ecstatic media along with A-listers of Bollywood – the Big B leading the way – to warrant repetition but I can’t help offering my take! The film marks a sensational debut of Director Neeraj Ghaywan along with actors Vicky Kaushal (Deepak) and Shweta Tripathi (Shalu). The vulnerability and earnestness of a small town young man blown away by a girl above his station and the bubbly, vivaciousness of a young girl whose mind is playing tricks with her heart, is truly amazing and real.
Richa Chadda is of course known quantity and out-excels herself. Treading the ‘less is more’ trajectory, her powerfully understated performance is searingly honest as is Sanjay Mishra’s magnificent Vidhyadhar. Even the lesser supporting roles are spot on – be it the corrupt blackmailing cop, the bhola-bhaala colleague of Devi who, while offering her kheer also offers his feelings for her and of course the endearing, impish Jhontu! Indian Ocean’s evocative music, embellished with Grover’s lyrics, fittingly complements the mood and milieu of this utterly beautiful film. It is entirely appropriate that ‘Masaan’s’ burning ghats that signalises the end, moves to the holiest of holy sangam, to offer new hope to struggling mortals, seeking peace and salvation. Acclaimed by many as the Film of the Year, ‘Masaan’s’ moving, unpretentious, honest tale of passion and poignance is something seldom experienced by viewers in recent times.
Totally and truly un-missable.
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