Films | Movie Reviews | FILM – Sahi Dhande Galat Bande

FILM – Sahi Dhande Galat Bande

Posted by FATEMA H.KAGALWALA on August 20, 2011 | No Comments

PRODUCER – Preeti Jhangiani
DIRECTOR – Parvin Dabas
WRITER – Parvin Dabas
CAST – Parvin Dabas, Vansh Bhardwaj, Ashish Nair, Kuldeep Ruhil, Sharat Saxena
MUSIC – Suhas, Siddharth, Dhruv Dhalla, Master Mahavir Chopra

Our world is rife with socio-political issues of all kinds and the more we progress on an economic and technological level, the more we seem to get steeped into issues that should, fundamentally not have risen. ‘Sahi Dhandhe Galat Bande’ speaks out on one such issue; that of unfair land acquisition at the cost of displacement and ruin of poor farmers.

With a name as quirky as that the film must naturally lean on a quirky note but surprisingly the film takes a balanced approach between light-hearted-ness and seriousness. Rajbir (Parvin Dabas), Sexy (Vansh Bhardwaj), Ambani (Ashish Nair) and Doctor (Kuldeep Ruhil) are four friends working as henchmen for a local don, Fauji (Sharat Saxena) in Kanjhwala village in North India. Born of peasant parents these men have moved away from their family occupations and some also hold day jobs. One day Rajbir comes out of jail and finds that the farmers of his village are protesting against the Government grabbing their land to hand it over to an industrialist. Their plight speaks to him but life comes a full circle when Fauji takes up the job of suppressing their protest and hires the foursome to do the job. Rajbir decides to play along but support the protest in his own way, with the help of his friends. The men that they are, they know only the language of blackmail and violence. But this time the fight is not mercenary but for a greater common good.

Written with a lot of heart the film treads softly on all fronts, never idealistic, never trivialising. It builds mood and momentum steadily and does away with anything forceful. It has a thin story-line but its meat is in the narrative that treats Rajbir and the issue with sympathy.

Set in a sleepy village, the film captures its setting with perfect realism uncaring about beautification. Its beauty is in the variety of little symbols it invests in its frames which makes this debut feature a pleasing, creative effort. A vacillating character is juxtaposed with a swinging centre-piece and the death of an activist / teacher has a motionless pencil next to his dead body in the frame. Little things speak and the film is all about those.

It is this eye for detail that helps bring the characters to life even if semi-carved. Dialogues are earthy and at times accents slip but the moments are all honest and that by far, isn’t a small triumph.

The film steers clear of delving deeper into the socio-political mess our country has become and hence turns naive and dreamy towards its climax. Power gives up too easily and consciences are too easily awakened. It loses its charm in the end since it makes the solutions too easy. However, full marks to debutante writer-director Parvin Dabbas for a film with undiluted spark and honesty.

FATEMA KAGALWALA

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