A Death in the Gunj

'A death in the Gunj' as the name suggests opens with a murder mystery. It could be anybody. We, as a viewers, are intrigued from the word go. Then, we are taken into a flash back and story unfolds from there, a week earlier.

Set in 1978's McCluskieganj, a town which had certainly seen better days probably in British era and it is a home to Anglo Indian families. The movie revolves around Bengali family, who are in for an year end vacation in the town, where they spend their time with parents OP (Om Puri) and Anupama (Tanuja). The movie has its own pace and introduces each character in detail. There is bossy Nandu played by Gulshan Devaiah and his wife Bonnie played by Tillottama Shome. They have daughter Tani (Arya Sharma) and Nandu's brother Shutu (Vikrant Massey). And then there are family friends: hot headed Vikram (Ranvir Shorey), charming and seductive Mimi (Kalki Koechlin) and Brian (Jimmy Sarbh).

We see darker side of this family unfold through Shutu. Shutu is a kind of person who exists in almost every family. Shy, introverted and often ridiculed for not being same as others. He wants to be a part of them but often ends up being a distant spectator. They take him sometimes, but he is hurled with insults, punches, either directly or indirectly. May be that is why, he finds happiness in solitude or in company of his niece Tani. They have their own innocent world. Vikrant Massey is a revelation in this role of Shutu. He brilliantly portrays vulnerabilities and intricacies of Shutu without speaking much. He has played smaller roles before but this is the big break actor dreams for. Hopefully, this is just the beginning for him.

Konkona SenSharma makes impressive debut with this gem of a film. She unravels the sentiment of bullying and gives us a layered film with strong characters. You can't ask for better ensemble then that. 'A death in the Gunj' has everything, a family drama, betrayal, thriller. The movie and Shutu will remain with you for a long time because of its unmistaken simplicity. Arguably, the best Indian film of the year so far.

A Death in Gunj marks the directorial debut of Actress KonKona Sen Sharma. A film from what we call a parallel cinema. As a director Sharma has done her job brilliantly as the storytelling is the strongest aspect of the movie and reason you should watch this drama. Background score and cinematography also contributes positively towards building up the story. Actor Vikrant Massey has played the role of Shuttu with great conviction. The only disappointing moment in this movie was its climax as you anticipate much more after a strong built-up but movie settles for less.

The ground for a death is set already when the scene opens in a city trembling in peak winters. The tired sun that cannot decide if it wants to rise, the insects already stocking their nests and ready to hibernate, the orchestra of cicadas that blends easily in the suspicious eerie silence of the evenings, the absence of roses and the long purple nights. In such a set-up the only noise that rips the slumber of the forest apart is the loud laughter of a happy family. The perfect family with rotund bellies feasting on meat and wine, slyly rubbing bodies against each other in jest, and like every other family, unable to keep track of the share of love every member is receiving.

It's easy to feel left behind in a world disheveled by adults. Where youth is thought to be coped up with only by a compensatory adrenaline rush, sex is but a form of hospitality, and children and servants are defamed outcasts for just not being alike. Amidst these artificialities, humble "Shuttu" draws dreamy figures in his diary, takes interest in dead moths and the funeral of ants, befriends his six year old niece Tani and vehemently resists metamorphosis. His brother Nandu like most elder siblings, puts him through helpful tests to man him up(driving, planchettes, kabbadi) but Shuttu is already a man with his weak arms but a muscular heart that can carry immeasurable weight. He is the re-incarnate of Franz Kafka, sniffing for traces of love in his dead father's sweaters and his seductive muse's white ankles and the melancholy of his wailing mother. The film brings back to my aching mind a nostalgia of theatrical plays, where the characters were the fodder and story but a resource, rather than the other way around. Nandu's wife, "Bonnie" and mother,"Anupama" are an accurate reflection of the legacy of homemakers; dreamless eyes, unquestioning obeisance, and principled Elizabeth Bennets always in- charge of too much to be done. Vikram(Ranbir Shorey) is the perennially candescent splinter and Mimi(Kalki) is the moth dancing in its flame. O.P(Om Puri's character) has drunk blood-shot eyes and a jovial persona which often confuse his grand-daughter for a tortoise and dismiss the bruises under Shuttu's eyes as child's play. Tani is a young and curious fluttering butterfly who just broke out of her cocoon. Maniya and Manjuri, the domestic helps, are observers of the building up of crime which in this movie, is neither an accident or event, nor a well-hatched conspiracy, but a sudden condensation of reality.

The timeline of growing up is riddled with tough milestones to surpass. The degradation of parent's narrative from "are you facing a problem we don't know about" to " what is the problem with you", bodily changes, the political intrusion of lust and control in relationships and the devaluation of childhood dreams which are too much for a heart which still has not grown anesthetic to pangs of betrayal and dishonesty. As Shuttu tries to brush through these and more, he watches little Tani with wet eyes who would soon be stepping into this war too. A war which is endless and perpetual, called adulthood, where the temporary campsite on the battleground is supposed to be your permanent home. Where defeat is inevitable but the contest is about who can survive longer.

With this debut, Konkana Sensharma blurs the lines between a book and a movie, unveils how modern art is about context rather than content, undresses the guilty faces of families where it is surprisingly easy for someone to not matter at all. By the end, I wished if the movie could be longer and I was given more time to build intimacy with the characters of Mimi or Vikram to know what went into the making of their lustful, unconquerable and ambitious hearts. But alas, a movie could only be a window to another world and not a door, an excerpt of an unending saga which is still happening behind the closed walls of silent homes and secluded hostel rooms, a crime that is taking place without any blood dripping which no one knows about now, no one will figure out the reason behind, but everyone will blame themselves for.

Today I saw "Death in the Gunj"

It is a slow movie. But once you have patience and if you can soak into its characters - The Bangla bourgeois culture, their liberalism, their talks, the way they look and behave (making the casting perfect); and if you can sustain yourself absorbed till the end the impact of the movie is not good but Overwhelming... Especially for those who have a sensitive soul, who can feel deep down the anguish and pain of a single individual.

Here the single individual is Shutu (Vikram Massey) whose character and psyche is known to us through peeling of each layer through small exchanges of dialogues and incidences. Shutu lost his father when he was 7 years, he does not have a good relation with his mother, who always scolds him, he is bad in studies, and has failed, he is bullied by his friends and talked down and even beaten by this elder brother. He is simple, shy, incoherent, child-like and finds solace and innocent friendship with his niece Tani (Arya Sharma) during a small gathering over a week with family and friends at a hill station house.

Events unfold in such a way that Shutu is initiated to sex by Mimi (Kalki Koechlin) who just wants to have fun and get over her love for Vikram (Ranvir Shorey) who is marrying someone else. By the end of the movie things do not work out for Shutu who is ignored, forgotten by everyone and shunned even by the little girl Tani. Yet with love in his eyes he pins his hopes on Mimi who ignores his feelings and advices him to concentrate on studies and life (sounds so familiar). It is a psychological take on a simple boy Shutu who is driven to death, but unfolding of events – where everyone is unconsciously selfish (as a way of life) and happy with what one has in life – except Shutu, who feels lonely, ignored and useless (even being used by that little girl).

While coming out of the theatre one feels, if once, someone – the little girl Tani, or Mimi would have held Shutu's hand and consoled him, would have given him strength and hope to live life.

It is a great debut of Konkana Sen Sharma as a director. All the actors and actresses have acted superbly. Special mention of Vikram Massey as Shutu who lives his character's flaws like real. The slow and lingering shots are exquisite and a treat on the eye. The detailing is perfect. Music is appropriate with mix of a couple folk tunes and lingering sadness of violin.

This movie is recommended for the typical arty type sensitive movie goers – who want to see good different cinema - This is the one!

(Rating 7.5 out of 10)

A brilliant thematic adaptation of Tagore's "Unwanted" theme coupled with a tragic turn of fate. What enables a caterpillar to morph into a butterfly is profound tendering and patience. But what if the society around us is too harsh and abides by the principle of "Survival of the fittest" ? The infinite possibility of blossoming can often be nipped in the bud. Set in the picturesque small town of McCluskieganj of late 70s, the story depicts the tale of a young man Shyamal aka Shatu (Vikrant Massey) who's a misfit in an otherwise boisterous and well to do group. He suffers from an identity crisis, yearns for love and has no idea of what to do with life. He struggles to deal with his emotions and frequently gets sidelined by others. What happens with him in a week's stay in the small town is what the film all about.

Cinematography is simply breathtaking which gives a 70s feel and yet appears glossy and fresh. The ensemble starcast is the biggest asset combining actors of mettle - Om Puri, Tanuja, Tilottama Shome, Ranvir Shorey, Gulshan Devaiah, Jim Sarbh and Kalki Koechlin. All were literally fantastic with Massey being the icing on the cake.

This is Konkona Sensharma's debut direction and it simply acts as a corollary to the fact that the apple doesn't fall far from the tree.