VIFF review: Nikhil Mahajan’s character study in Godavari offers thoughtful alternative to Bollywood fare

For these used to the jumped-up tempo and palette of shiny colors of most Bollywood motion pictures, it takes some time getting used to the one Indian movie at this 12 months’s Vancouver Worldwide Movie Pageant.

Director Nikhil Mahajan’s Marathi-language Godavari is a personality research centred round a grumpy landlord’s relationship to the river of the identical title.

All of it takes place within the crowded and historic metropolis of Nashik, which is about 140 kilometres from Mumbai.

The movie opens with the stressed-out, chain-smoking Nishikant (Jitendra Joshi) zipping round on a moped amassing lease from numerous tenants. This man appears irritated with everybody—his spouse, his mom, and his senile grandfather, who repeatedly asks if the water within the river has touched Lord Hanuman’s ankles. When Nishikant’s daughter says she’s bored at residence, Nishikant replies “me, too”.

Issues unfold slowly, amid the beats of Av Prafullachandra’s Indian songs, which amplify the distress of Nishikant’s existence. The gloomy temper is bolstered by the darkness of the condo the place Nishikant has fled to keep away from his household.

Imaginative digicam work additionally does its magic, with longer pictures from a wide range of angles driving residence how insignificant Nishikant’s life has turn out to be.

Two issues occur to create new pressures on Nishikant. First, there’s a suggestion from a developer to buy the household’s land holdings, which might require evicting his tenants. Then, there’s a disturbing medical prognosis.

This units Nishikant on a religious journey wherein the mighty Godavari River occupies centre-stage.

The appearing in Godavari is first-rate, most notably in Joshi’s fiery-eyed portrayal of the troubled Nishikant, but in addition in Priyadarshan Jadhav’s pensive and plaintive efficiency as his good friend Kaasav. The mom, performed by Neena Kukarni, additionally shines together with her refined and genuine appearing. That is Marathi arthouse cinema at its finest.

However for expat Indians used to the razzle-dazzle of a Salman Khan motion film—and even the dramatic suspense of a critically acclaimed Bollywood movie like Haider—Godavari may strike them as a tad sluggish.

To them, I say be affected person. Keep it up. With superb Indian cooking, issues end up higher when spices are given time to marinate.

The identical is true of the central character in Godavari—Nishikant simply wants a while to evolve.