Nagraj Manjule’s Jhund brings us beyond the ‘wall of social difference’ to a slum where life is a battle for existence, providing a level playing field for invisible India. Nagraj has used his lived Dalit experience to make a sensitive statement on the need to bridge the social fault lines, without applying any sugar coating. Inspired by the story of real-life football coach Vijay Barse, who uplifted slum children through football and launched the concept of slum soccer, Nagraj has used his lived Dalit experience to make a sensitive statement on the need to bridge the social fault lines, without applying any sugar coating.
The social drama isn’t as wholesome as his past success stories, Fandry and Sairat, but it’s worth seeing for its sheer grit and ability to look into the eye of a festering social crisis.
Throughout reality, in the Jhund film, the act of looking is the true stumbling block. When an upper caste lad glances at a Dalit in the latter’s territory, he interprets it as a doubt of the latter’s existence; nevertheless, when the Dalit stares back at the well-endowed in his region, it is interpreted as an offense for recognizing his presence.
Dalit characters are frequently lashed in commercial cinema to manipulate emotions in favor of the upper caste or a casteless savior in the name of poetic justice. During election season, the proximity between the two is often as close as a politician sharing meals with a Dalit.
The film, on the other hand, whitewashes Dalits to the point where they are stripped of the social and psychological flaws that have become part of their identity after centuries of otherization. As the camera tracks the sorrow in Ankush Mashram’s eyes, Manjule maintains it raw and honest. At the same time, it gives the Dalit hero a stirring background sound that is usually reserved for upper-class protagonists in popular Hindi cinema.
Mashram begins to sound like Mishra at one point. Although there is a lot of plastic strewn around in the ambience of shanties, the home of ragpickers, there is no designer exhibition of poverty.
Manjule captures the youth dancing in abandon to the DJ music in front of a photo of B. R. Ambedkar, whose image is hard to find even in the backdrop of a shot in a Hindi film, making clever use of symbolism to portray the trenchant urge for dignity and agency among Dalits. The scenario concludes with Bollywood’s top star kneeling before a Dalit icon.
Simultaneously, he positions a Dalit shopkeeper who is hesitant to invest in this unreflective exhibition of Dalit power and only raises his hand when he recognizes the chance of actual change. When Ankush successfully goes through a metal detector in the climax, the most powerful usage of visual metaphor for change occurs.
Manjule doesn’t seem to believe in using scissors, and the speed is erratic. It takes a while to adjust to the mood, but it soon becomes apparent that the film’s technical language is in tune with the lives it depicts: a meandering desire to escape the rabbit hole where crime is often a compulsion and drugs an escape from reality.
While reading this Jhund review, you should watch the trailer below.
Scenes in which slum people learn they are Indian and require papers to confirm their identity, for example, are handled as mundanely as they might occur in real life. The use of non-actors in the cast helps to create an atmosphere and a sense of intimacy.
If the story is about a Vijay who wants to transform the world, who better to play him than the original Vijay, Amitabh Bachchan? Bachchan, who is known for his mannerisms and baritone, plays a passionate football coach who utilizes the beautiful game to alter the lives of slum youngsters. To his credit, he doesn’t appear to be the odd man out among the non-actors in the cast.
The plot of Jhund, on the other hand, could have been tighter and more delicate, and Vijay’s character could have been more developed. His courtroom address mutes some of the power of all Manjule has captured up to that point. In the same way, an airline’s surrogate marketing does. However, these are the dangers of crossing the line separating commerce and creativity.
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