Darbhanga Wave: Journey beyond ‘Gamak Ghar’ to ‘Pokhar Ke Dunu Paar’ | – News in Hindi – Hindi News, News, Latest-Breaking News in Hindi

Recently, there was a lot of discussion about ‘Darbhanga Wave’ at the Dharamshala Film Festival. In a special session, Achal Mishra, Shishir Jha and Parth Saurabh were also discussed separately on this subject. Although Achal Mishra’s films ‘Gamak Ghar’ and ‘Dhuin’ have been appreciated a lot, this year there was a lot of curiosity about Parth Saurabh’s film ‘Pokhar Ke Dunu Paar’ in this festival. Prior to this, the film was also honored with the ‘Special Mention, New Director’ award at the ‘San Sebastian Film Festival’.

Parth’s film is like watching the changing relationship of two young married couple on the landscape of Darbhanga through binoculars. In the film, Priyanka and Sumit run away from home and get married. After marriage, both of them settle in Delhi. But after the Corona epidemic, he was forced to leave Delhi and return to Darbhanga. Upon returning to the city, Sumit and Priyanka go back to their old relationship, friends and memories. The effect of this influx is different on both. Sumit is very happy with his friends at Adda, Maynoshi and strolling and spends most of the time surrounded by friends. On the other hand, after returning to her city, Priyanka begins to feel more deeply the indifference and neglect of her angry father. Priyanka has become lonely, on top of that Sumit’s unemployment and poverty has made living in this city even more painful.

The city appears in the film as a metaphor for the internal conflicts of Sumit and Priyanka’s relationship. That’s why when the story passes through the city’s puddles, ruins, buildings, roads, streets and friends, it comes out in a new way. Film director Parth told me about these images of the city, ‘These images of Darbhanga city create a very personal meaning for him. Seeing whom some old repressed memory or some emotion automatically comes out by scratching. That’s why I have intentionally kept these images in the film as well. The director has not allowed his ideas of images to dominate the film. That’s why neither Parth shows the direct meaning of these images, nor points towards their meaning.

In the film, the city of Delhi also appears like a golden past. Which has interesting stories and pleasant memories too. But the city is nowhere to be seen, only it is mentioned. It seems as if Delhi is a ‘fantasy’ for Sumit and Priyanka, where everything will be fine when they return.

Sometimes the film even opens like a debate. Where logic and emotion collide. In the presence of logic there is intense quarrel and argument and in the flow of emotions there is intense love. Sumit and Priyanka’s personalities become so transparent in the altercation that their human shortcomings become clearly visible. In this transparency, it seems that the relationship between the two will disintegrate in such a way that it might be impossible to bring them back together. But then a fine thread of love is seen bridging their deepest wound like stitches.

In this way, the film further reinforces this eternal confusion, where the tussle of logic and emotions not only exists between two people, but also between the inner and outer mind of the same human being. At one time, logic is heavy and at other times it is emotions.

Talking about the technical side, Pradeep Vignavelu has made a successful attempt to create a personal world through the camera. The camera stays still for most of the time so as to focus on every fine detail of the characters without any distractions.

The camera stays a little longer than we expect, so that the audience can feel every little emotional movement that happens in that moment. There are also the most beautiful scenes in the film, where the camera is present with the characters with their invisible presence. In terms of camera technique, this film can also be seen as an extension of ‘Gamak Ghar’.

Special praise should be given to the acting in the film. Especially Abhinav Jha in the role of Sumit and Tanya Khan Jha in the role of Priyanka. The quality of a good acting is that there should be no acting in it. In two different scenes of drinking alcohol, both look so comfortable and natural that acting is not visible in that scene. Both have played their contradictions in the film with great skill. But these contradictions do not seem to lead to any one conclusion. They walk along the pond of life, with Priyanka on one side and Sumit on the other.

about blogger

Mohan Joshi theater artist

Freelance writer, Mass Communication graduate from Makhanlal Chaturvedi University, Bhopal. Film Appreciation and Screenwriting Course from FTII Pune. Theater artist, dramatist and also writing and directing for many documentary films.

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