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Fandry means PIG in English, DUKKAR in Marathi and SUWAR in Hindi. That’s the direct meaning of the slang Fandry. However if you wish to see the underlying meaning of it, then you must watch this out-of-the-box marathi movie “FANDRY”.

Fandry is a story about ‘much talked about nowadays’ topic called ‘Puppy Love’ (refer Shala and Timepass). But that is just used as a reference to touch a more important and grave topic of caste. The story is pretty simple and you must have known by now when I did mention about ‘Puppy Love’ in the first line of this paragraph. So if you have guessed it, then I think you are right. And that’s the reason I will not discuss it in this review as well. What is worth discussing and describing is the way how the director has handled it exceptionally well. The moment the movie starts, the manner in which the camera moves and the moment when the apt background music reaches your senses, you start to believe that this is something really different and your expectation starts to climb. And not to mention that director-writer Nagraj Manjule delivers and lives up to those expectations for the next two hours.

The best part about the movie is almost everything is metaphorical, symbolic and its upto the viewers to derive meaning out of it. But having done this, the director has not gone into the self-indulgent mode, which most abstract film makers tend to go into and then make a remotely abstract (in short meaningless :-)) film which no one understands other than the writer-director (??). ‘Fandry’ slowly starts to take the viewers into confidence, slowly raising the altitude and finally pushing the viewers from the a certain height, but with a parachute, so that they land safely. The ending of movie is again not definitive and conclusive (just like Lunch box). But if you really give it a thought you tend to understand what the director wants to say from what he has shown and this is especially true for the last 20 minutes before ending. The last 20 minutes truly justifies the name of the movie for itself.

Small nuances of the village life, their mannerisms and their way of life are very well portrayed in film. The movie is not shot at the most picturesque locations, but still the way the cinematography is done, is really commendable. The background music is not at all loud or nor is it melodramatic. The director could have easily fallen into the trap of giving extraordinarily melodramatic music, taking into consideration the topic with which he is dealing. But the self-control that he has shown in it, is really awesome. Not in a single instance, has he lost his self-control. The only lacuna that I felt about the music was, there could have been one song atleast in the background. The reason I am saying this is, the background score that Alokananda Dasgupta has given, especially with the strings is so melodious, that you feel like listening it more and feel that there could be a good composition out of it.

Last but not the least is the acting part, which is very well handled by the protagonists. Jabya, Pirya and Kachru have the most dialogues in the movie and they have delivered it to their best. Just to mention, the actors that have performed Jabya (Somnath Avghade) and Pirya (Suraj Pawar) are not seasoned actors. But they have delivered up-to the mark or rather above it.Kachru’s role is one more feather in the cap for Kishore Kadam. Kudos.

(Spoiler Alert !!!) Before I end, I would just like to make a list of some of the scenes that I found worth noting, they are:
– Wide angle shots covering the dry arid hill tops
– Scene where Jabya is asked to stop dancing and work (and that too in front of Shalu)
– Scene where Kachru gets drunk and without confrontation goes to bed
– All the scenes of Jabya whenever he blushes with the thoughts of Shalu
– Scene where the entire village stands still for Jana Gana Mana 
– Entire sequence of Kachru’s family chasing pigs.

Now after saying this all, should I further directly and precisely tell you all to watch it…I think just like the movie its upto you to decide :-).

K Sarang