This seems to have been done to let Raghuvir remain verbally unhampered. Raghuvir Yadav insists on speaking in Hindi to everyone in the movie. Not that the film is bereft of all flaws. Or a film that dares to stick its neck out and face the powerful winds of shame that a rape victim brings on herself and those around. It's not every day that we get an actor of Anjali's creativity regurgitating the truisms of life on the most basic level. Her interaction with the grownup Chini (Vedashree Mahajan) in prison has visuals of Anjali looking skywards as though to question why we do what we do in life and why some are served only disappointments in life. Playing the slimeball's submissive wife who probably wonders when the next blow will come, Patil lets her eyes do most of the talking. Manjule's wife is played by the very accomplished Anjali Patil. He is the embodiment of evil, hurling belt blows on his wife, thrashing Raghuvir Yadav. Filmmaker Nagaraj Manjule instils a slimy diabolism to his part. Whatever the blemishes in this brave and often powerful film, the central idea is resoundingly well executed by the two central performances. Also, the film packs in too many ideas on sexual violation - for the central idea of the little girl's violation by her own uncle tends to be diluted. Repeated shots of Raghuvir Yadav cycling down a mountain-kissed pathway tend to prettify the proceedings more than required. Ahire uses background music and the beautiful Maharashtrian countryside sparingly, eloquently.
The build-up to the child's molestation is supremely smooth. Is it just police apathy and insensitivity, of which there is ample illustration in the plot?Īfter little Chini's sister Manda (Kadamabari Kadam) discovers the ghastly truth about her baby sister's violation and once Chini grows up into probing searching adulthood (Mugdha Chaphekar) the narrative begins to get heavy-handed, stilted and melodramatic. While the sense of wounded betrayal is felt strongly by little Chini and the audience, we never get a sense of what makes the monster Mama's world so infallible.
By blanking out the actual act, the narrative acquires a strength of projection that would have otherwise been denied to this fine but flawed film.įlaws, this work has in plenty. Not because the director - the very prolific Gajendra Ahire - wants to cover up the sordid act to appease family audiences.
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