In Defence of Prof. Uttam Choudhary. Review on Maine Gandhi Ko Nahin Mara

The day was 30 January 1948 – yes – the Day Nathuram Godse assassinated Mohandas Karamchand Gandhi, the man we know as Mahatma Gandhi. Undoubtedly, a sad day and a watershed in the history of India, the day, however, had a special significance in the life of a boy, who grew up later to become Professor Emeritus in Hindi Literature – Prof. Uttam Chaudhary but who could never overcome the trauma that became a part of his existence when his superstitious father decided that his son shooting at an innocuous target during play was responsible for the death of the Mahatma and abandoned his son forever on the altar of superstition.

‘Maine Gandhi Ko Nahin Mara’ is a film that deals with the impact such events can have on a young impressionable mind and how they can play havoc with the future of the individual; how a young impressionable mind can carry the hurt of an incident that occurred long ago and still function without a trace of the incident, till some external trigger unearths the hurt and frustration of the event, bringing to the victim extreme misery and discomfort.

The Film also talks about Dementia and how it breaks down the most intelligent of human brains to a state of vegetation wherein the man is no longer a master of his own mind but is an unwilling pawn of the hallucinations the brain weaves around his mind.

This is also the story of how India failed it’s most illustrious son and how his thoughts and philosophy become the part of a ritual to be paid homage to but never to be used in real life. How the man became an idol – a larger than life icon to be respected or reviled but never to be followed! Indeed such is the tragedy of the man who invokes feelings more passionate and extreme than even Adolph Hitler.

Last and not the least, this is also the story of a father and a daughter and the deep bond that unites them - the bond that comes under deep stress and how a daughter deals with it, even at the cost of her personal happiness, to ensure that her father is not left at the mercy of selfish sons and a relentless infirmity.

Anupam Kher delivers what can be arguably called the best performance of his career, notwithstanding his stellar performances in Saaransh, Daddy and others. The actor stands tall in his performance credibly matching the actual circumstances of the syndrome and at no times does he let down his guard. This can be considered as one of the best portrayals of a Dementia patient and is absolutely a treat to watch. The manner in which he breaks down in the courtroom scene is exceptionally brilliant. His monologue at the end of the movie; wherein he speaks about the way the nation failed both Gandhi and his philosophy is indeed a brilliant piece of acting and the actor deserves accolades for his refined performance. Equally effective is the scene where you first encounter him obsessed with his guilt in a smoky room running away from the shadow of the Mahatma’s assassination.

Urmila Matondkar in an exceptionally well-etched performance proves her credentials as an actress with yet another searing portrayal of a daughter in distress. Her hurt, her grief, her sense of duty, her affection for her father and her deep commitment to him not only match Anupam scene to scene but also proves her to be a competent actress worth her place in the Hindi film industry. It’s easy when faced with such a role to take the easy way and overact but the actress affirms her credentials when she comes up with an understated yet convincing portrayal of a daughter forced to live under an unfortunate handicap. At no point does the actress try to overshadow Anupam but seems content to play her role with equal conviction and in the process ends up with another mind-blowing performance.

Boman Irani in a rare serious role (rare by Hindi Movie Standards) is competent as an actor hired to play a lawyer. He plays his role with consummate ease. Parvin Dabas also manages to stay true to his character without adding any moral overtones to his silent portrayal. Rajat Kapur is strictly average while Addy overacts. I mean I could see no justification of the total emotional breakdown that he portrays considering the fact that he’s the youngest of the siblings while the elder ones remain silent and non-conformist in their approach. Vishwaas Pandiya essays his role well while Waheeda Rehman is wasted in a cameo.

Jahnu Barua is a name to reckon with in the regional world. The director holds a record for the number of National Awards he has won over the year and is rightly considered among the doyens of Assamese, nay Indian Cinema. The director brings to Hindi Cinema his own brand of silent introspection with a movie that dares to go beyond the limits. The introduction scenes, the manner in which the characters have been delineated, the opening shot of Anupam’s delusion, the tea party, the confrontation between Trisha and her ex-love, the courtroom drama have all been pictured with a tinge of reality and look very much plausible. The director has managed to create a feeling of empathy with the lead characters without resorting to emotional gimmicks and made capital out of an engrossing screenplay. Kudos to him and hope to see him more frequently

A brilliant film – one that will definitely be remembered for years to come