Kharij

Title: Kharij (1982)

Director: Mrinal Sen

Genre: Drama

Review:

Mrinal Sen's "Kharij" stands as a seminal work in Indian cinema, encapsulating the director's adeptness at weaving social commentary into deeply personal narratives. The film, based on a novel by Ramapada Chowdhury, is a gripping exploration of the moral and ethical underpinnings of the middle class, set in the socio-political landscape of early 1980s Calcutta.

Plot Summary:

The narrative revolves around a middle-class couple, Anjan (played by Anjan Dutt) and Mamata (played by Mamata Shankar), who live with their young son in a modest apartment. Their household dynamic shifts with the introduction of Palan, a young boy from the countryside, whom they employ as a domestic servant. Palan's presence initially seems to bring a semblance of convenience and normalcy to their lives, highlighting the casual acceptance of child labor in Indian society.

However, the story takes a dark turn when Palan is found dead in the kitchen, having accidentally suffocated due to a malfunctioning coal stove. This tragic incident serves as the catalyst for a deep, unsettling examination of the characters' morals and the societal structures they inhabit. The police investigation that follows forces Anjan and Mamata to confront their own complicity and the societal indifference towards the plight of the underprivileged.

Characters and Performances:

Anjan Dutt and Mamata Shankar deliver powerful performances, embodying the complexities and contradictions of their characters. Anjan, initially portrayed as a liberal and kind-hearted man, slowly reveals his deep-seated anxieties and self-interest as the investigation unfolds. Mamata's character, on the other hand, reflects the pervasive passivity and moral complacency often found in the middle class.

The supporting cast, including Sreela Majumdar as the empathetic neighbor and the actors portraying the local police, add depth and realism to the story. The depiction of Palan, though brief, is haunting and serves as a constant reminder of the human cost of societal negligence.

Direction and Cinematography:

Mrinal Sen's direction is marked by his characteristic realism and attention to detail. He eschews melodrama in favor of a restrained, almost clinical approach, allowing the story to unfold organically. This method enhances the film's impact, making Palan's death and the subsequent fallout all the more poignant.

K. K. Mahajan's cinematography complements Sen's vision, using stark, unembellished visuals to underscore the film's themes. The confined spaces of the apartment, the cold, gray tones of the city, and the subtle play of light and shadow create a sense of claustrophobia and moral ambiguity. The minimal use of music and reliance on natural sounds further immerses the audience in the characters' world, heightening the tension and emotional resonance.

Themes and Social Commentary:

"Kharij" is a trenchant critique of middle-class hypocrisy and the broader societal indifference towards marginalized communities. Through the lens of Palan's death, Sen exposes the superficial benevolence of the middle class, which often masks a deeper moral indifference. The film also highlights the systemic exploitation of child labor and the inherent inequalities that perpetuate such practices.

The title, "Kharij," which translates to "The Case is Closed," is a pointed commentary on society's tendency to quickly move past uncomfortable truths. It reflects the superficial resolution of deeper issues, as the characters and, by extension, society at large, seek to close the case without addressing the underlying injustices.

Conclusion:

"Kharij" is a masterful piece of cinema that challenges viewers to reflect on their own ethical and moral standings. Mrinal Sen's deft direction, combined with stellar performances and a gripping narrative, makes it a timeless critique of societal norms. The film's relevance persists, urging contemporary audiences to confront the uncomfortable realities of social inequality and moral complacency.

In summary, "Kharij" is more than just a film; it is a mirror held up to society, reflecting the uncomfortable truths we often choose to ignore. It is a poignant reminder of the cost of our indifference and the moral responsibilities we bear as individuals within a larger social fabric.

I think this is the first film of Sen I watched. This can be put together with his previous 2 films because of the logic why J J Abrams tell something as 'blood relative' :P. But this film is very much smaller than the other two on the basis of its diegetic. But that does not make any less impact. The movie uses very less amount of background music, which strikes harder to us because we have to fill up the silence with our feelings. And our feelings to any of the characters, specially after what happened in the first act of the film, cannot be empathetic any more. And along side with that, it still shows us the helplessness of the middle-lower class families and their allies all right. One of the smartest and slickest films of Sen.

Mrinal Sen's palme d'or nominee exposes the alarming rise of underage helping hands in middle class society. A servant boy dies of CO poisoning on a chilly winter night. The question arises "Who is responsible",the landlord and employer's ignorance or the parents of that boy who forced him to work at such an early age. Mrinal Sen never answers that question directly,he let the audience to interpret the situation. A society where kids are forced to work to make family's ends meet ,Mrinal Sen has questioned tha society .The particular event is a synedoche of his appeal to the higher ups .A film cant change a society,but it can surely make one aware of the evils which are prevalent in the same.

A pre-teen ager servant boy dies of carbon monoxide poisoning on a cold winter night. He was employed by a young working Calcutta couple (Anjan and Mamata) with a small boy of their own. Taking money from a neighbor's friendly daughter, he slipped away to watch a movie on a cold winter night. Finding his usual sleeping corner below the stairs too cold, he bolts himself inside the kitchen, where a fire was burning. The next morning we witness a powerful discovery scene like on the morning after Macbeth's murder. The door is forced open and we see the commotion in the apartment block which is the stage of the drama.

Who is responsible? The landlord who failed to provide ventilation in the kitchen ("it's not a bedroom"), the couple for employing what is legally child labor and failing to provide reasonably comfortable sleeping arrangements? The police takes over and a post mortem is performed. Meanwhile a procession of the boy's relatives arrives and the father is inconsolable but lifts no accusing finger, his head bowed in acceptance of the nature of things. The film ends on a heart rending note of under-stated sadness.

Comparison with the titanic Ray is inevitable. Sen is also gentle but has a more steely and masculine quality. Ray has a child's sense of wonder, but Sen's tragic vision is touched with youthful anger. He has been called Marxist in outlook but the present film does not point an accusing finger at anyone, but does dramatically bring out a class divide almost as of two different species. The deceased boy's father Hari seats himself deferentially on the ground. He has no capacity for anger. He wails like a lost calf, while remaining meek and respectful to the end.