The rich canvas of conflicts and emotions that is the very fibre of Tier 2 towns in India, becomes once again the backdrop of this next refreshing flick.
The conflict of global aspirations but very very local realities.
The conflict of a younger generation living double lives - their public life their family like to believe and their private lives, more in line with their own identity
The conflict that comes from the person that we think we’ve grown up to be and fiercely protect and the person we need to become to love someone else
This then becomes the theatre against which master craftsman Anurag Kashyap tells an engaging love story between Rumi (Taapsee Pannu), Vicky (Kaushal) and Robbie (Abhishek Bachchan). In many ways, this is probably Kashyap’s first proper love story, and we can see his raw, mofussil touch throughout the movie. This is how Anurag Kashyap would tell a love story. It’s in your face, it’s simple, it’s authentic, and it’s just the way it happened, once upon a time in Amritsar.
The story revolves around Rumi and Vicky and their insatiable, hormonal love for each other (I’m coming to Fyaar in just a minute) till they are caught by Rumi’s family and the wedding ultimatum is given. So, either Vicky gets his act together and asks Rumi’s hand in marriage or she would be wed to an eligible bachelor (read NRI banker, Robbie). Then starts the love triangle of will-she-won’t-she-marry-Robbie-or-Vicky and even after the marriage, the story continues to who-will-she-end-up-with finally, till one of the love wins and its happily ever after.
As is obvious, the plot is nothing new. But, that’s what makes it even more powerful as a movie.
#Manarziyan happens not in the story, but in the story-telling. You don’t realise it’s an almost 3-hour movie, because somehow you are flowing with a very natural chronology of things happening in the lives of these main characters.
#Manmarziyan happens not in the big actors, but in the nuanced characters of Rumi, a fiercely independent yet un-exposed and emotionally vulnerable young girl; Vicky, an aimless dreamer with big aspirations without a clue of how to get there, yet with a heart of a teenager; Robbie, the mature NRI banker who is patient and traditional, yet progressive-minded about life choices. (Hum Dil De Chuke Sanam flashback, anyone?).
And #Manmarziyan happens not in the big sets, but in the humble homes and streets of Amritsar. The many small rooms in different homes, that take on the form of living spaces, sex dens, family conversations, socialising, public drama. The small lanes around the houses that become the most evocative spots for emotions and drama - both loud and subtle. We see an amazing contrast of how inside the homes become spaces for very public emotions (like wedding preparations) and the very public places like the streets become the spaces for some of the most intense private emotions (like when Rumi is waiting for Vicky to run-away).
And then there is the language. Another masterstroke from Kashyap. The language is not only in the dialogues through the movie that are blunt, real, direct and liberating to hear. But also in the creation of “Fyaar”. We finally have a Hindi word for lust, and in a way that even the good people of the world can feel. Because ‘havas’ is only for rapists! Just for that Anurag Kashyap, you deserve a medal!
All in all, great performances by Taapsee Pannu and Vicky Kaushal (what an actor, Raazi, Sanju, and now Manmarziyan, all in one year and 3 completely different characters, played with conviction to the tee). Abhishek Bachchan is not bad too, thankfully playing a strong and silent role that is well, strong and silent.
Again, it’s so great to see Bollywood coming of age with movies like this. Go and watch it, and cheer for how mainstream cinema is changing forever, right in front of our eyes!
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