Dahan

It's good but doesn't give a clearer picture of superstitious and science. Not very clear about the idea of what is going on. Just one time watchable.

The VFX used for infected person may trigger few people as it is a bit sensitive especially for trypophobia people

Warning: trypophobia people should stay away.

It's good but doesn't give a clearer picture of superstitious and science. Not very clear about the idea of what is going on. Just one time watchable.

The VFX used for infected person may trigger few people as it is a bit sensitive especially for trypophobia people

Warning: trypophobia people should stay away.

That makes the viewers expect an exciting vision from the work of Rituparno Ghosh might have its first strongest presence in Dahan, which means burn. On a regional cultural level of India the massive blockbuster brings somewhat new approaches to narrative, screenplay, nature of theme, cinematography etc. and achieves a few awards.

The parallel narratives of three separate, apparently happy circles of relationships living in the same Indian megalopolis are brought in a matrix of (non)interaction, in connection of a brutal incidence of molesting a happy housewife Romita. It dramatically exposes the absence of dignity in the love relation of three young female characters, each of whom represents the center of each circle. The characters are made sufficiently distinct, and also the circles. Only the net effect of crude patriarchic tradition is similarly consequent upon the misery and utter loneliness of each young urban lady coming of different social micro-cosms. The early warmth of love is transformed into spreading burns of relations.

From the beginning of the film, the soliloquy of an urban female subject Romita behind the sensitive foreground of some delicate visuals of her daily domestic experience increases the depth of feeling of an introverted and helpless gender position. The viewers are also supposed to identify with the honest, self-seeking subject positions of camera.

Romita, an educated, sensitive housewife undergoing a short happy life of an arranged marriage is disillusioned about it. Jhinuk, a highly courageous teacher experiences a shocking misuse of her prolonged and profound love relation. A family enforces another girl to marry an anonymous and ultimately distasteful man only due to his high social status. All the central female characters come to encounter the subversion of their earlier beliefs, lose hope for the relations and feel to defy any blind submission to 'normal' tradition.

One would sense the operation of one grand humanitarian perspective, which finally succeeds to embrace the parallel narratives. At the end of the film the tragic soliloquy of Romita is relevantly superimposed on the actions of two other ladies. The grand perspective does not, however, reasonably qualify the conditions of other major female characters in the film. One might also question some drab precision in introducing the parental characters, except the grandmother of Jhinuk. Only the enlightenment of Jhinuk's old grandmother, who lives a life of a recluse, fails to give sufficient underpinnings to the process of growing burns--meaning Dahan-- in the personal lives of three young ladies. Moreover, one might seek clarification about why the good males either passively support the wrong system or remain helplessly inactive, while almost all the good female characters actively and passively fight with the system. The skill of the director lies in making such overt populism highly accepted by the spectators, males included.

The simple narration and fast screenplay are provided with certain critical turns, which reliably offer terrible wrench of gradually shocking consequences in all the parallel narratives. In framing the sequences the meticulousness of the director effectively draws the viewers close to nuance of the contexts.

All the actors and actresses have made justice to the characters. Although Indrani Haldar as Jhinuk and Rituparna Sengupta as Romita deserve special mention, the director's success of using a number of casts in the intricate sequences attracts very favorable response of the spectators. Let Rituparno Ghosh be more successful in refining his distinct genius and exceptional sensitiveness in his future directorial career.

A story about social injustice & feudal mentality in so called educated and cultured bengali society. Sexual intercourse without the consent of the partner is no less than a Rape!

Dahan is an intense study of the choices we make in trying circumstances. It unfolds a myriad of issues, emotions, perspectives through which different people view and react to a single incident --- a molestation of a woman at the metro station. There are a lot of people directly or indirectly associated with this: the molested woman (Rituparna), her husband, their families; the woman who saves her (Indrani), her boyfriend, her colleagues, her family; the molester, his girlfriend, their families. They all have something to say, and they often come from very different viewpoints. The movie takes us through all these peripheral views, and shows how they all are important, and have something new and often, unexpected to offer.

An exquisitely powerful script and a sensitive narration makes for an impactful watch. Shown primarily through the eyes of two key women: Rituparna and Indrani, the movie touches on an amazing number of themes – the practicality-idealism dichotomy; social pressures and stigma; our ability to accept the worst in others; our ability to accept the circumstances; compromises and its limits; vested interests of the powerful; jealousy; economic disparity in marriage; the gullibility of people; the healing power of time… In spite of offering so much, it does not become a diffused amalgam, rather, brings out a completeness of sorts within a coherent core. I have not come across any other movie that offers this detailed examination of a single chain of events.

A few women steal the show. Indrani, in her role as the fiercely powerful, strong-willed and righteous school teacher, gets us in awe of the character. Equally adept is Rituparna in her portrayal of the confused, agreeable, and stuck-between-two-worlds wife. Mamata in her small role as Rituparna's sister-in-law casts a spell of warmth and affection as a house-wife who has reconciled with pain. But, to me, the stand out character in the movie is that of Indrani's grandmother, Suchitra Mitra. Her strong character is brought out by her tough stances on almost everything. She offers interesting insights throughout the movie, for example, she says 'how can the autowallah who returned my money be celebrated simply because he decided not to do the wrong thing'… Towards the end we also get to see a more human side of her when she talks of her past. The male characters, on the other hand, are all passable. The central character, Abhishek, Rituparna's husband, is average at best.

Rituparno Ghosh's movie making has always connected with me. This is one of his early movies and we can see the genius in the making, but still, the movie and narration is not as refined and polished as some of his later work. The husband's reaction accusing wife of potential adultery, the courtroom scenes are good by commercial standards, but needed more subtlety for this extremely realistic genre. In spite of these, the gripping screenplay gets us hooked and alongside, questions our own moral, social, idealistic and practical takes on the circumstances.

Dahan would stay with me for some time. A must watch for any lover of good cinema.

The strongest of his all works. He took the concept of two woman struggling against the corrupt and chauvinistic society from Suchitra Bhattachrya's highly praised novel of the same name. She was, if not one of, the biggest feminist author of our time. And the same theme and context is dripping from every scenes of the film itself. Even the treatment of editing was so cool and ahead of its time. This also serves as the first attempt of Ghosh's incredible dubbing which, I think, he was the best in the world.