Praveen Lulekar
Some films are just directors’
experiments to explore something new. So the focus is on doing the basics right
– appropriate camera angles true to the genre, contextual background music,
getting minimal but exact expressions out of the actors etc. With Gajendra
Ahire, you always expect something new. If he took you in an abstract zone with
Postcard, Anvatt is his experiment about the basics of the supernatural
genre.
Unfortunately, he misses out on creating
the real drive of such films - scary moments.
Dr. Vinay (Adinath Kothare) and his wife
Madhura (Urmila Kanetkar-Kothare) shift to a village in Konkan for a year. They
decide to stay in an old vaada or bungalow there. Madhura, an
archeologist, starts feeling presence of something unknown. Locals Sada Kamat
(Makarand Anaspure) and Baijamma (Vibhavari Deshpande) back Madhura’s
experiences with tales of a ghost. Vinay is reluctant to accept it. Whether
this is supernatural or anything else is the mystery of the film.
Supernatural/Mystery Thriller is a genre
that has attracted many great directors. The perceived problem they create is
to give a logical flow to their story; so even their spirits operate in a
certain defined pattern. That is why, Ram Gopal Varma’s Bhoot remains
underestimated as compared to Vikram Bhatt’s heroine eating a cat. Ahire’s aim
in Anvatt is much complex – to play with the settings of the film.
The film relies on long, quiet sequences
with Madhura roaming about – in the little jungle around and in the house.
Something is constantly following her in the form of Ahire’s camera. In his
trademark style, the director captures the wet, green and mysterious landscapes
beautifully. Areas in the house, especially a dark staircase, are where fear
resides. These are used optimally. But that doesn’t scare you because the bizarre
is always restrained and explained. It is also difficult to remain interested
because of the slow pace.
The background score (Amar Mohile) does
a terrific job to cover this area. But the songs do not help. Ye re
ghanaa... serves as a background but Tarun aahe raatr... is an
absolute obstruction. It is placed at an instance when the fear is at a high
point and the film gets close to gripping you.
So does that mean this is a bad film? –
Difficult to decide. The film would be outright boring for those expecting a
chill down their spine every now and then. On the story level, it definitely
gets childish while explaining the whole mystery. But for someone like me, who
thinks slowly and gets scared easily, this is fairly engaging. Relishing the
picturesque locations is in itself a way to see the film.
The Kothare couple does a good job.
Adinath is asked to underplay and he does well to raise a rational character.
Urmila does the most important job – looking beautiful, which is important even
from the story perspective. Her expressions are also well directed – the
romantic, confused and scared woman emerges throughout. Anaspure has got the
meatiest role. He again shows what he is capable of apart from comedy, but
could have slightly dramatized to make it scary. Deshpande does brilliantly to
make the proceedings mysterious. Kishore Kadam and Bhargavi Chirmule also
appear in interesting cameos.
Go for Anvatt if you can savour
all that is allied to fear. Fear itself is elusive in the film.
m4m says: One Time Watch
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