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Ramchand Pakistani: Outstandingly told
If Khuda Kay Liye was a fine example of fledgling independent cinema from Pakistan – distinct from the Lollywood’s mindless masala – then Ramchand Pakistani by debutante director Mehreen Jabbar is sure sign that quality cinema from our neighbours are surely getting revived, thanks to a young breed of filmmakers who have largely cut their teeth through television and are socio-politically conscious.
Ramchand Pakistani had its first public screening in the Subcontinent at the 10th Osian’s Cinefan Festival of Asian Cinema in New Delhi on 12th July – three weeks before it becomes the first Pakistani film to have simultaneous release on August 1 in both the countries – and wowed viewers with its sensitive storytelling shorn of any melodrama.
Based on a true incident of a young Hindu Dalit boy from a village across the border from Gujarat, who had inadvertently crossed the international border along with his farmer father at a time when India and Pakistan’s armies were in an eyeball-to-eyeball position in the immediate aftermath of the 13-12-2001 Parliament attack, it is a film replete with all fine qualities of big screen storytelling, a few small drags notwithstanding.
Mehreen Jabbar, who has worked for a number of years on Pakistani TV, and her father Javed Jabbar who has written the film, have not only done an authentic representation of the incident, but also been able to hold the attention of viewers throughout the film without resorting to any melodrama, something which was easy to fall prey to given the father-son and mother-son angles of the storyline.
Since it is based on a true incident, there is probably no risk of providing a spoiler if one gives the basic storyline here. Ramchand, just 7, one day crosses the border in the Bhuj area after getting angry with his mother Champa for not giving him enough tea. His father Shankar too crosses the border unknowingly while looking for his son. Both are arrested by the BSF who take them to be spies of the Pakistani establishment, and are lodged in the Bhuj jail. Being from the lowest rung of the society, Shankar has no idea how to get out of the jail, and is a complete prisoner of his fate as he and his son spend years in the jail, before they are finally released – first the son, and the then the father.
It is perhaps the story of hundreds of such unfortunate souls from both the countries who have to spend years in each other’s jails after unknowingly crossing the border. But what makes the film even more important is the fact that it focuses on the lowest rung of the society, the Kohlis of the Sindh area, who are Hindu Dalits. More than that, though, it is the story of innocence lost, of a young kid who spends over six years in the jail of a foreign country, away from his mother, for virtually no fault of his except that he had crossed the borders without even being old enough to know what a border actually is.
The film, its makers admit, has elements of fiction – “about 30 per cent of it”, as Javed Jabbar puts it – but that is to create some dramatic moments, without tampering in any way with the actual chain of events. And it is this depiction of the actual events that makes the film highly poignant, particularly thanks to the brilliant acting by Syed Fazal Hussain in the role of Ramchand, often talking through his absolutely innocent eyes. Rashid Farooqi provides the perfect foil to him in the role of Shankar, with a brilliantly-restrained & measured performance, and Nandita Das – the only Indian actor in the cast – gives yet another of her competent performances.
Unlike Khuda Kay Liye, which had a crowd-pleasing performance by Naseeruddin Shah, Ramchand Pakistani does not depend on the craftiness of dialogues. Here, everything is told in a simple manner, without any overt melodrama, realistically reflecting the lives of the simple people caught in a vortex completely not of their making. There are no blame game here, and it is all about how innocent people become victims of circumstances. There were ample scope to downgrade the story to a typical melodrama, but it is of full credit to the director that she has avoided any such thing consistently throughout the film, whether in the main plot or the sub-plots. And that is what makes Ramchand Pakistani a worthwhile film. The background score by Debojyoti Mishra (Chokher Bali, Raincoat, etc.) and vocals by Shubha Mudgal and Shafqat Amanat Ali are outstanding and cinematography by Sofian Khan perfectly suits the film’s mood.
The film has a number of interestingly-composed scenes, but the most outstanding one could definitely be the last frame, when Ramchand, now six years older, suddenly reaches his village after having been released from the Indian jail, and comes face to face with his mother. The faint smile on his lips as he sees his mother, unlike his playful bantering with her six years ago, reflects how he has grown up much beyond his age, thanks to his harsh experience of getting separated thrice from someone he is close to – first his mother when he crosses the border, then a lady Hindi film-loving jail superintendent in whom he perhaps saw a trace of motherly love, and then his father when only he is released from the jail (the father was released sometime afterwards). This even as his mother’s emotions change from surprise to disbelief to relief to ecstasy. Definitely a film worth watching. And a full thumps up to freshly-reborn and refreshing Pakistani cinema.
13 Responses to “Ramchand Pakistani: Outstandingly told”
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any idea if this is going to release in india??
@Rusted rick
from what i heard it was a simultaneous release in india & pak
Wow! Nice post Utpal. I am really eager to see the film. I liked KHUDA KAY LIYE and I hope to see one more good film from Pakistan. Sadly I couldnt attend Osian Film Festival, I hope that I can see Ramchand Pakistani whenever it releases here!
Splendid review, Utpal.
@dpac
u mean it already released?
gosh no good movie ever comes to kolkata, its always mumbai and delhi!!!!!!!! :(
Hey!
The movie is going to be simultaneously released in Pakistan and India on august 1!
Happy viewing…and I am also dying to see it!
Listen to songs on you tube…very nice!=)
I always wondered how Pakistani films will be received in India because they were lower (in some cases equal) quality to Indian films. I never thought there will be any market because why Indians will watch a film which is based on the same formula and has actors that are unknown to them.
I am glad that our directors have not embarrassed me. I am happy that we have something which we can proudly present. And I am ecstatic because now Indians and Pakistanis can discuss each others’ movies unlike before when only we knew about Indian films and our Indian brothers were unaware of our films.
I hope that this films gets released in London so I can see it too. Khuda Ke Liye did good business in London and the USA.
NO simultaneous release despite the tall claims of MAKING HISTORY……
the film is released on Aug 1 in Pakistan and three weeks later in India.
What REVIVAL………in 2008 only 6 pakistani movies have been released in the first 7 months of the year. Revival?
what revival are we talking about then?
excuse me….BUT how on earth can you refer to KHUDA KE LIYE as “fledgling independent cinema” the film was one of the most expensive productions ever mounted in Pakistan and had COMPLETE official backing and funding. KHUDA KE LIYE is NOT independent cinema - it is as corporate as it has ever gotten in Pakistan.
@ Bushra
you seem very angry with something. Calm down, other people have views too.
As far KKL, it was independent because it was made by a TV producer with money from friends and family and the story was not typical lollywood Masala. Later, President Musharraf watched it and praised it (like Prime Minister Gilani has done for Ramchand Pakistani). A politician trying to be in the news does not make a film having ‘full ofiicial backing and funding’. All they have done is not to ban it and I don’t think it is a big favour.
Percept Picture Company in India decided that it needed more time for publicity. It was right of the Indian company to delay release because it had its money put on that. Unlike someone who can only comment in full anger ‘I want it now!!’
As far revival, the dictionary suggest it is not ‘peak’ of something.
record low production of Pakistani films in 2008, less than 1950 amounts. there is no anger in the statement, just fact. Khuda Ke liye was a governmented sponsored and funded film. Percept have the right to do what they like with their product except for splash claims about cinema history being made - that is incorrect.
I loved Ramchand despite its pandering to the Irani Art Cinema crowd, nothing wrong with that. Sadly it has bombed in Pakistan but hopefully Percept might have better luck with the film in India.
@ bushra
tell us something we don’t know. Who claimed that Pakistani film industry has beaten Hollywood, Hong Kong film industry or bollywood? What I see in your statements is more of ‘attack’ which often results from anger.
Percept has right to release when it is suitable for their business. It was in response to your words, i.e. “NO simultaneous release despite the tall claims”. Now further evidence suggests that film sensors referred it to central government which delayed its release.
get your facts right. KKL was not sponsored and funded by Pakistani government. Being from Pakistani film city Lahore and someone who follows films (and my cousin is making his third film), I can say with more authority. KKL was not a big budget film. Pakistani government could have banned it but thankfully Musharraf allowed it. That is all the government did. Shoib Mansoor got money from friends and family and this is how he financed it. Same is true about Ramchand Pakistani. There were many ‘individuals’ who invested in the film.
It did not ‘bomb’ in Pakistan. It was successful especially when we look at ‘reality’ and ‘art’ cinema in subcontinent where song and dance is part of masala. It did not do as well as KKL in Pakistan but is still running to more than 50+ theatre capacity.
Revival is not ‘peak’. Such small steps lead to revival. It is not number of films but the content that matters. These two films have left more impact than 100 trashy ‘blockbusters’ could have.
well said fayyaz.