We have seen Nandita Das in hard-hitting films like Bawander, Earth or more recently in Ramchand Pakistani. And got bowled over by her histrionic skills. However this time it came as a pleasant surprise to see Nandita donning the director’s mantle and giving an equally powerful performance from behind the camera.
In her directorial debut Firaaq, which means both separation and quest in Urdu, Nandita has tried to delve deep into the minds of the people – as if trying to shake them up, remind them of the tenets of humanity - emphasizing on the need to rise above communalism.
About the film:
The plot unfolds in Gujarat in the year 2002, where several innocent Muslims died in the Godhra massacre. Unlike Rahul Dholakia’s Parzania that primarily focused on a Parsi family which lost its 10-year-old kid during the riots, Firaaq has five different stories which are interconnected and independent at the same time. The characters belong to different class, gender, age and community that represent a cross-section of society.
Aarti (Deepti Naval) is a housewife who’s shattered by the sight of a Muslim woman begging sanctuary in her house. But she chooses to be indifferent out of fear.
Khan Saheb (Naseeruddin Shah) is a Muslim musician who lives in the Hindu suburb of Gujarat. He just fails to see the increasing communal rift around him.
Muneera (Shahana Goswami), a Muslim auto driver’s wife has hidden with friends during the riots returns to find her home gutted and trust in her friends destroyed.
Sameer Sheikh (Sanjay Suri), married to a Hindu played by Tisca Chopra, is torn between fleeing to Delhi or stick around to be recognised as a Muslim entrepreneur.
While slum dwellers live in constant fear of the next outbreak of violence, others plot revenge.
With complete dexterity Nandita explores the relationships that bind these two communities to their homeland in the face of atrocities.
The opening shot where the two Muslim men dig a mass grave for the riot victims reminds us of Andrzej Wajda’s Katyn, a film that spoke about the mass murder of Polish Prisoners of War during World War II or the scene when Muneera’s friend in order to protect her, puts a bindi on her forehead to disguise her as a Hindu woman, are indeed touching.
Though we missed Nandita on screen, Naseeruddin Shah, Deepti Naval, Raghubir Yadav quite make up for the loss, especially Shah who has already given similar performances in films like A Wednesday and Shoot On Sight. Deepti Naval sans make up looked every bit a remorseful, docile Gujarati housewife who tries to overcome her guilt by burning her hands with hot oil every time she recalls the fateful incident.
It would be unfair if we don’t talk about Sanjay Suri who has done a fairly good job. The pain and anguish that Sameer goes through, his frustrations, his decision to relocate from Gujarat, his inability to cope with the current scenario look convincing enough.
Shahana’s track gets boring after a point with her constant attempts to know who burnt her house. Her story seems a bit incomplete too.
As for an actor of Paresh Rawal’s caliber, we expected a lot more screen presence. His role as Deepti Naval’s dominating and abusive husband is a refreshing change from the comic stereotype, but alas… his character is not fleshed out properly.
Nandita tries to wrap up the film with ray of hope as Naseeruddin resumes his music classes with two Hindu disciples. Also, Sanjay Suri aka Sameer decides to let go of his fear and comes to terms to live with his true identity.
Despite a few flaws, one of the plus points of the film is its razor-sharp editing by Sreekar Prasad. As a first-time director, Nandita’s endeavour is worth an appreciation. What more can be said about a film that has already won accolades at places like 49th Thessaloniki Film Festival in Greece and 7th Kara Film Festival?!
With a subject like this, Firaaq may not be a conventional crowd puller. But with a string of films like Khuda Ke Liye, Aamir, Mumbai Meri Jaan and A Wednesday, striking gold at the box office, it may just click with the cine lovers.
VERDICT: Watch it for Nandita’s direction, Naseeruddin Shah and Deepti Naval’s powerhouse performances.
RATING: 2.5/ 5
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