Ghampani

It truly baffles me how filmmakers, under the guise of entertainment and lighthearted romantic comedy, manage to insert blatantly anti-Brahmin narratives.

Until recently, I believed this was something confined to certain Marxist-Communist, anti-Hindu forces in India. But now, it's deeply painful to witness that Nepal-a country that was a Hindu nation barely two decades ago-is also gradually adopting the same ideological path. The Cultural Marxist tendency to depict Brahmin communities and Brahmin characters in negative light has found its way into Nepali cinema as well.

In this particular film, all Brahmin characters are portrayed in exactly the same way: arrogant, morally flawed, conspiratorial, or outright caricatured. For example: 1. The bride's father, Tara's father - egotistical, short-tempered, argumentative old man - clearly a negative character.

2. The bride's mother - traditional, opposed to love marriage - again painted as conservative and negative.

3. The man pretending to be the police inspector's father - a fraud who takes loans but doesn't repay them - a negative role.

4. The police inspector himself (who is also a Brahmin) - a crook, a bigamist, anti-love, and someone who casually makes random people his "father" - perhaps the most negatively drawn character.

5. Even the only supposedly "good" Brahmin character-Tara, the bride herself-is shown vomiting during a dinner with friends upon seeing buffalo meat, simply because she has never encountered it before. Even this natural reaction is used to mock her or make her appear socially inept.

So yes, every single Brahmin character in this film is depicted negatively in one way or another.

Now, contrast this with the portrayal of the non-Brahmin characters (in this case, Tamang characters - and let me clarify, I hold no personal grudge against the Tamang community; the concern here is with portrayal, not ethnicity).

All the Tamang characters are shown as good-hearted, fun-loving, and noble. Even the two comical characters who initially refuse to give up their land for road construction eventually help the couple. Apart from them, all other Tamang characters are wholly positive:

A) The Tamang parents (Mahila and his wife) - cheerful, warm, loving.

B) Tamang friends - loyal, genuine supporters of love and friendship.

C) Phurba (the male lead and a Tamang man) - the film positions him as the sympathetic hero.

Despite Phurba's clearly problematic behavior, the film expects the audience to forgive everything simply because "he is in love." For instance: C.1) He knowingly encourages a young Brahmin boy to eat buffalo meat, fully aware that the boy's family would be strongly opposed. The child's curiosity is not a valid excuse-he's not even a teenager.

C.2) He assaults a man in uniform.

C.3) He convinces a Brahmin girl to betray the trust and love her parents nurtured for over 20 years.

C.4) He openly defames his future father-in-law but never once shows the courage to formally ask for the girl's hand in marriage. He does everything else-except this one honest act.

Yet, the film portrays him in a positive, even heroic light.

The message is unmistakably clear: non-Brahmin (especially Tamang) characters are good, selfless, and lovable, while Brahmin characters are rigid, manipulative, and oppressive-all wrapped up in the name of entertainment.

Let's examine one more point. These Cultural Marxists, who often claim to believe in gender equality, never seem to reverse the roles: Why is it that in almost all such films, the girl is Brahmin and the boy is non-Brahmin? Why is the reverse so rare?

If this were just coincidence, one could let it slide. But here, not only does a Tamang boy elope with a Brahmin girl, this act is celebrated. The two comedic side characters even boast, saying something like:

"Our Tamang boy just flew off with the Brahmin girl!"

This doesn't just reflect anti-Brahmin bias-it shows pride in subverting Brahmin identity.

It's extremely disheartening to witness this in a Nepali film. From Indian cinema, perhaps we've come to expect such things. But not from Nepal.

Yet, this Cultural Marxist influence has penetrated Nepali filmmaking to the extent that Brahmins are almost always cast in a negative light.

Even the wedding ceremonies in the film are treated with bias.

The Tamang wedding is shown as colorful, joyful, and warm. In contrast, the Brahmin wedding is depicted as dull, forceful, and lacking any joy-as if it's merely a ritualistic burden.

The message from the filmmakers is loud and clear:

"Brahmins are bad. Brahmin daughters should marry outside their community. Brahmin traditions are boring, oppressive, and joyless. Brahmins are bigots, liars, or crooks."

This is not just poor storytelling. It is a deliberate ideological narrative rooted in anti-Brahmin bias and Cultural Marxism, carefully disguised as entertainment.

The movie was good, performances of actors were brilliant. However, Dayahang rai should workout a bit, being the lead actor, he should be in shape. Keki Adhikari was good and had a charm. Chemistry between two was also very good. The actor playing Villain Kamal was also brilliant. It portrays the actual situation of the villages now a days.

The film garnered attention for its realistic portrayal of societal issues within the framework of a heartfelt love story. Here's a review that delves into its key aspects:

Story and Themes:

"Ghampani" centers on the love story of Furba Tamang (Dayahang Rai) and Tara Sharma (Keki Adhikari), childhood friends from different castes. Their blossoming romance is challenged by deeply ingrained caste prejudices prevalent in their village.

The film effectively highlights the subtle yet pervasive nature of casteism in Nepali society. It showcases how even seemingly harmonious communities can be fractured by age-old biases.

Beyond the romantic angle, "Ghampani" also touches upon themes of familial bonds, community dynamics, and the clash between traditional values and modern aspirations.

The movie does a very good job of displaying the difficulties that are present when people from different castes want to be together.

Direction and Cinematography:

Dipendra Lama's direction is commendable for its grounded and realistic approach. He avoids excessive melodrama, opting instead for a nuanced portrayal of characters and their emotions.

The film's cinematography captures the essence of rural Nepal, showcasing the beauty of its landscapes while also highlighting the simplicity of village life. This adds to the film's authenticity.

The director successfully keeps the film in a light hearted state, even while dealing with very serious social issues.

Acting Performances:

Dayahang Rai and Keki Adhikari deliver strong performances, portraying the lead characters with sincerity and conviction. Their on-screen chemistry is palpable, making their love story believable and engaging.

Ankeet Khadka stands out as the antagonist, Kamal Adhikari. He effectively portrays the character's manipulative and opportunistic nature, eliciting a strong reaction from the audience.

Prakash Ghimire, and Puskar Gurung also give very strong supporting roles, that really bring the story to life.

The performances of all of the cast members contribute to the films ability to portray realistic village life.

Social Relevance:

"Ghampani" holds significant social relevance by addressing the sensitive issue of caste discrimination, which continues to be a challenge in many societies.

The film encourages viewers to reflect on their own biases and to consider the impact of social prejudices on individuals and communities.

By portraying a realistic situation, the movie can help to bring awareness to social problems that are present in Nepali society.

Overall:

"Ghampani" is a well-crafted film that seamlessly blends entertainment with social commentary. Its compelling storyline, strong performances, and realistic portrayal of rural life make it a worthwhile watch. The film's ability to tackle a sensitive issue with nuance and sensitivity is a testament to its artistic merit.