The film is a case of unfortunate disharmony as the script and dialogues barely stand up to the brilliance of the musical score.
Ek Sangaychay review: Kay Kay Menon’s Marathi debut is a forgettable affair
Cinestaan Rating
Release Date: 16 Nov 2018 / Rated: U/A / 02hr 07min
Blessy Chettiar | Mumbai, 16 Nov 2018 11:00 IST
Lokesh Gupte takes the credit for story, screenplay, dialogues, editing and direction of Ek Sangaychay: Unsaid Harmony. Interestingly, he chooses two non-Marathi-speakers for his main cast. Kay Kay Menon makes his Marathi debut with this film while Rajeshwari Sachdev is seen after a long time in a feature. But that is not the problem with this film.
The problem lies in the one-line subject matter, which is not effectively stretched to make a convincing full-length feature. The lack of communication between parents and young children and its consequences is a track that has been explored in many Hindi and Marathi films, mostly famously R Madhavan’s character in 3 Idiots (2009).
Children cowering under the pressure of parents' expectations is not a fresh subject and so it becomes all the more important to convey it innovatively. Unfortunately, Gupte turns Ek Sangaychay into a repetitive sermon with little to enjoy or emphathize with. His intention is noble, but the execution is tedious and uninteresting.
The wavering focus among the lead cast is also problematic on many levels. It dilutes the message, which means every character wants to redeem itself, often tiring out the audience.
Kabir (Abhijeet Amkar), Dhruv (Shalva Kinjawadekar), Angad (Vibhav Rajyadhyakshy) and Anahita (Harshita Sohal) are best friends, living a carefree life. They have their problems in their respective homes, and Gupte tries his best to give them equal footage. This derails his narrative from the very beginning.
One fateful night they are caught in a raid at a rave party conducted by Kabir’s top-cop father Malhar Raorane (Menon). Malhar wants Kabir to join the police force and makes him prepare for the same against his will. After Kabir is caught in the raid, the relationship between the disciplinarian father and the timid son deteriorates further. Kabir’s only confidant is his little sister Ira.
Dhruv’s addiction to sex, Angad’s financial problems and Anahita’s waywardness owing to lack of attention from her busy parents is explored through their relationships with one another. However, none of this is fresh or worth looking forward to.
The performances are average, and not one of them stands out. It’s nice to see Sachdev after a long time, but her character is limiting. Menon could have been good, but he takes a quiet, sombre approach to an overbearing father. He displays an aching vulnerability towards the end, but it’s too late to evoke any interest from the audience.
Menon has worked hard on his Marathi, getting the diction and nuances right. Growing up in Pune seems to have helped him master the language.
Oscar-winning sound designer Resul Pookutty’s work is commendable. It often manipulates the viewer into believing what is happening on screen is important when it is just repetitive dialogue and visuals. It’s a case of an unfortunate disharmony as the script and dialogue barely stand up to the technical brilliance of the music.
Ek Sangaychay: Unsaid Harmony is a lost opportunity that could have been a memorable Marathi film debut for one of the finest actors we have, Kay Kay Menon. This disharmony is pedestrian fare and you won’t miss much if you skip it.