Keyur Seta
Mumbai, 15 Dec 2017 7:00 IST
The portrayal of the everyday life of beggars does force you to question a lot.
Debutant director Raj Gorde’s Ghat brings back memories of the recently released Dashakriya. Although both films are different in terms of the overall content, post-death rituals form an important part of both. Ghat is much more realistic and controlled than Dashakriya. But that certainly doesn’t make it an impressive saga.
Ghat (which translates to ‘river bank’) revolves around the ghat of river Indrayani in Aalandi and focuses on a family of beggars. Manya (Yash Kulkarni), his mother (Mitali Jagtap), father (Umesh Jagtap) and his sister struggle to survive. His father is a drunkard and womaniser who regularly beats up his mother. Worse, his mother’s health has been deteriorating. Manya tries his best to make ends meet. He wonders if there is any hope for them.
Ghat is shot entirely in real locations in the village of Aalandi near Pune. In fact, this is one of the rare films where a large chunk of the scenes take place at a river bank (Indrayani river). It was a smart decision to use real visuals of devotees at the river. This adds a realistic angle to the proceedings. But it’s certainly not the only reason. The director displays a ‘no compromise’ attitude when it comes to showing the real life of beggars.
Making the actors literally live the life of beggars (also when it comes to eating like them) not only adds conviction, but also empathy for them. When Manya asks Papya, “Why did God choose us for this life?” it makes you question a lot about the world.
But when you make a feature film, portraying realistic visuals isn’t everything. A film needs a proper storyline and this is where Ghat falters. This limits its effect on your mind and heart.
The first half is quite interesting because you expect the tale to move ahead after establishing the many characters and the story. But instead, the same saga is continued later too. With repetitive scenes and the script going nowhere, the film starts testing your patience despite it being only 90-minutes long.
In the end you realize that the aim was to present an ironic situation. But to let the proceedings just wander for 90 minutes is not a good idea. The story, if it can be called one, is more suited for a short film format. You also can’t ignore a flaw here. The vada pav stall owner is so generous towards Manya that he doesn’t even battle an eyelid before paying Rs500 on his behalf on one occasion. Then why didn’t he help Manya when he was struggling to arrange funds for his mother’s medicine?
The fine camerawork adds to the realism. But as far as editing is concerned, the shift from one scene to another appears abrupt on quite a few occasions.
Playing such rank beggars would have been physically and mentally draining for all actors. To pull it off itself is quite an achievement. Kulkarni scores brownie points in the lead role of Manya. He appears a bit awkward on a few occasions though. Dattatray Dharme, as his best friend Papya, and the girl playing his sister, put in their best.
Mitali and Umesh as Manya’s parents are brilliantly realistic. Mitali is highly talented and dedicated, which is evident throughout Ghat. She won the National Award for Best Actress in 2011 for Babu Band Baja (2012). She is seriously underutilized in Marathi cinema.
Umesh's performance makes you hate his character, and this speaks a lot about his act. Riya Gavli, the actor playing the vada pav stall owner and few others also chip in with useful acts.
All in all, Ghat has it positives, but the lack of storyline limits the impact and reach of the film.