Reviewed by Praveen Lulekar
Hope is a bad thing. May be, the worst thing! After
a string of films that dealt with the pain of human heart, Gajendra Ahire tells
a story that brings about a catharsis you would want to experience again and
again. Laced with poetic subtleties, ‘Anumati’ explores the harsh realities of
life and the complex boundaries of relationships. Like Nandu (Kishor Kadam)
defines it for us – humans only raise mountains of sorrows with all our mohs
and bandhans.
The features of the film are, and had to be, Vikram
Gokhale’s helpless eyes and Govind Nihalani’s observant lenses. On the face of
it, the film is about a middle class man (Gokhale) trying to save his wife
(Neena Kulkarni) who is on ventilator. But the story keeps indulging into its
characters using each and every implication of the situation. All of them - the
daughter (Neha Pendse), the son (Subodh Bhave) and even the daughter-in-law
(Sai Tamhankar) have a story to tell and a limit to the help they can extend.
Trapped in this labyrinth is the husband who finds momentary solace in talking
to his unconscious wife, his eyes constantly checking the graph on the
electronic interface…checking if she is still alive. His constant question to
the doctor – hopes aahet na? (there is hope, right?) makes you wonder if
hope is the right medicine! There are unsettling symbols like an aarti going
on in the background when the son is convincing his father to consent the
withdrawal of the costly machinery.
Apart from Gokhale, all the other actors appear for
a scene or two. But they create such impact on the screen that every character
comes alive. Most prominent are the scenes of Gokhale and Kulkarni. The
veterans establish a beautiful chemistry on screen. The poet-hearted man is
complemented by his cheerful, laughter-loving wife. All this is done within
matter of minutes. The genius of the Ahire’s direction is that he never
indulges into warm flashbacks. The story of their marriage and companionship is
told by Gokhale when he has to beg for money in front of his daughter. The
reason of his wife’s illness is also revealed in a poignant scene with Ambu
(Rima), his college friend.
Nihalani’s camera creates pictures only the man
behind could imagine. The continuous backdrop of rain keeps you haunting
throughout. And if you incline to think that it is the beauty of Konkan that is
making the screen look so good, wait for the scenes in the dry Sangamner where
the streets speak like characters. The diagonally shot hospital corridors and
the low angle hospital room shots jump on you like a collapsing house of cards.
The tragedy sinks in you with every frame.
You cannot ‘review’ Anumati, ‘watching it’ is also a
wrong term…you experience it. I struggled a lot finding words to describe it; you
don’t have to worry about that. Just don’t forget to carry your handkerchiefs
along.
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