'Help' yourself to it!

     A whodunnit usually doesn’t carry the burden of ethical or social lessons but this movie chooses to do the exact opposite. It begins with a bright day in the Capital but eventually ends up throwing light on the darker and narrower mindset of a well-fed society when it comes to dealing with underprivileged servants inside their spacious home. At the same time, the plot makes sure that the audience has a different perspective for a change too and involves a pair of British eyes to do the job.

A still from the film

     Set in Delhi, a rich yet dysfunctional family is preparing to welcome a foreign guest with aplomb. But within minutes, it becomes apparent that this guy has been robbed of his money. And toeing the line of Bollywood clichés, the needle of doubt points towards the domestic help. What follows is a trail of misdemeanor on one end and helplessness on the other—both connected with moments of laughter, awkwardness and ultimate closure.

     For a debutant director-writer, Prashant Nair has heralded a promising start though he could have focused more on the characters than the predictable climax itself. The reason being simple: the people in his film are flawed, real and engaging. It could have been any other city in the country but these folks shared the same Indian sentiments; unabashed hypocrisy being the most evident.

    The casting is near-perfect. At times, Lee Williams reminds you of Martin Henderson from Bride and Prejudice. Anjali Patil’s dusky features coupled with an elusive performance as a maid steals the show. However, it is Lillete Dubey and Kulbhushan Kharbanda who convincingly exhibit the charm of a disgruntled couple. Victor Banerjee is present as well as absent on the screen.

     In a nutshell, this is the kind of story that needs to be told as its moral echoes today in every Indian household that employs a servant.

Mission Kashmir

A still from the film

     Over the years, several films have been shot in Kashmir but not many have been based on it. For obvious political reasons. By this cowardly yardstick, Harud (Autumn) has to be a welcome exception. Not only is it entirely filmed in the so-called paradise but also centred on those who indeed live there and speak accented Urdu. Appropriately, their struggle for dignity—if not freedom—can be seen documented throughout the movie. However, the initial commotion silently gives way to a relatively calculated pace of events that unfolds.

     Following a family that has lost a son and is on the verge of losing another, the plot draws parallel against the unstable ambiance. The protagonist’s father, sane as a cuppa, turns somewhat weird. His mother isn’t prepared to mourn her firstborn’s death yet. His friends hope to get out of the mess they are not responsible for. This may sound like a perfect melting pot for militant bullets and grenades, surprisingly enough, there aren’t enough explosions to rattle your eardrums. Perhaps the chaos prefers to manifest mentally than physically.

     Director-turned-director Aamir Bashir merits kudos for his perseverance given the fact that the film was made back in 2010; and most importantly, for choosing such a grave topic. No doubt Harud is his baby from beginning to end. Having said that, there are instances when he indulges too much in scenes that don’t particularly contribute much to the overall narrative. The characters could have been sharper. Other than the veteran Iranian actor Reza Naji, all other cast members are non-actors. And it shows. But what they lack in performance, Bashir tries to make it up with wondrous visuals.

     The tranquil images of pristine lakes juxtapose with the boy’s violent past. In the meantime, long shots continue to tease your patience and abstract references tests your ignorance. Metaphors flow in abundance. With the change in season, chinar’s leaves get busy leaving the tree. But the people are sticking to their roots, armed with technology. Maybe there is hope. Maybe not.

     If the purpose of a movie is to move you, then Harud does that pretty well. For mainstream regulars, this independent effort might come across as a bit boring. But then, boredom is a luxury where fear rules. Not everyone can afford it. The same is true about this rather brave film.