ભાષાનું ભાન ભુલાવી તેવી ફિલ્મ

There were many reasons I was looking forward to watch this film. One, it was a project that as lauded to be a face changer of Gujarati Cinema – Dhollywood, which lately was touted with an excessive use of dhol and almost certainly a rural focused story. In fact, last time when I went to theater asking for tickets of a Gujarati movie ચાર, I was told that the show has been cancelled – કોઈ જોવા આવતું નથી, શું કામ ચાલુ રાખીએ?!!!, was the response from the box office. કેવી રીતે જઈશ can change that, I was told repeatedly on Facebook, the most promising mode through which the movie was promoted. Two, few very close friend where involved in making it in one or other capacities and thus, there indeed was an excitement to see them or their name on the big screen for the first time. Third and most important, It was a responsibility as a Gujarati to buy ticket and contribute to making this movie run successfully, as if this was to fail, the youngster will have a negative example to follow, and we will not have any meaningful cinema again for few more years.


So, there I went for first day show at a steeply priced multiplex. Rs. 180 was recently hiked price for a multiplex ticket; and for a pleasant change, this Gujarati movie was yet not made tax-free and thus was priced along with fellow-released ‘Ferrari ki Savari’. Both the films are about dreams of middle class family; however, KRJ in additon to the story of dreams, has dreams attached to the whole process of film-making. જયારે ફિલ્મમાં અમેરિકા જવાના સપનાંની વાત છે, ફિલ્મ સાથે સંકળાયેલું સપનું હતું આપડા યુવાન મિત્રોનું, ગુજરાતી સિનેમાનું ભાવી બદલવાનું. આવા મોટા ગજાના રાષ્ટ્ર કક્ષાના પ્રોડક્શન હાઉસની ફિલ્મ સામે ગુજરાતી ફિલ્મ રિલીઝ કરવાની જીદ પણ ઘણી મોટી જ કહેવાય, હો. 

Movie of around 2 and a half hour, revolves around a family, every member of which is trying to fulfill the unfinished dream of the head of the household – the dream of going to USA. Given this narrow premise, the story has to be simple and that is what it is. However, it is the screenplay that keeps the film afloat. Extensive use of locally flavoured lingos, appropriate use of ‘Gujlish – a perfect blend of Gujarati and English’, without making mockery of either of the language, and locations that one can relate to makes it an enriching movie-watching experience. It also depicts the real-time youth who aspire to go to US but is totally unaware of the realities of their own city; the protagonist in one scene, while accompanying his to-be girlfriend to the ‘walled city’, asks his friend, “અલ્યા રાહીલ્યા, આ રાણીની હવેલી ક્યાં આવી?”, and then takes her to Kankariya lake – the most common tourist destimation of these times. This indeed is a reflection of the different realities of ahmedabad across two sides of river. Culturally relevant trivia like jogging followed by poha and idli, kutting tea at the kitli, almost local invention of ‘water pouch’ and the ‘missed call’, were wowen subtly into the screenplay making one relate to it joyously. Moderate and skillful depiction of smoking, boozing (so aptly on obscure top of building and a hidden bottle too was very mindful direction), and brotherly sharing of watching some random x-rated (russian or chinese?!), too reflects today’s youth in very sensible manner. And of course, not to forget the audi, spa, golf-course, and pool-side disc party, that made the ahmedabad truly urban beyond the ordinary dhokla/fafda image of it. 

While the senior generation characters like Kenneth Desai, Anang Desai, Rakesh Bedi, and Tom Alter were veterans of Hindi cinema and Televesions, the young generation were largely seen for the first time on the big screen. The young lot has also performed well as their first film. With most of them having theatre background, their solid foundation was visible. With progression to such more meaningful cinema, certainly they do have scope of improvement. Also, there were small cameos from other veterans like Raju Barot, Rita Bhadudi and if I am not mistaken, Ashish Kakkad, founder of meaningful gujarati cinema like Better Half. While Divyang Thakkar the protagonist who portrayed Harsih appears as a good mix of ‘vulnerability and aspiration’, the girl Veronica Kalpana Gautam seems a terrible mix of ‘beauty and conviction’.  Both of them carries the film on their shoulder smoothly and seems to have huge potential.     

I cannot resist my urge to write a word about my dear friend Abhinay Banker, who played Raahil, a friend of the protagonist and who also is casting director of the movie. I have been following almost all the plays of Abhinay since 2009 and have watched his swollen blood vessels while expressing his restrained anger to his father in acclaimed Gujarati play 'Welcome Zindagi' for than few times. In KRJ too, he has played a vital supporting role of a caring and concerned friend. And, of course, he yet again expresses his restrained anger through those swollen blood vessels around the neck. He along with his theater friends has been trying to change the face of Gujarati theater through a group called Acktors theater for a long time now, and their efforts on revising Gujarati cinema is praiseworthy.

A special mention is must about music – both songs as well as background scores. Mehul Surti is a best contribution though this movie. His contemporary and still soothing music, along with culturally sensitive lyrics addedd to the otherwise slow pace of the movie. It was indded surpise that the phrase ‘કેવી રીતે જઈશ’ was nicely transformed from its perceived meaning “how will you go to USA’ to the methaphore of ‘how can you go away from home’ through the use of culturally relvant sentiments associated with thepla, khakhra etc. Voices of bollywood regulars like Rupkumar Rathod and Suraj Jagan and by-now-well-appreciated local artist Parthiv Gohil and Aishverya Majmudar were well utilised. What was also interesting is the use of songs in the background without lype syncing; such use of songs in movies is upcoming trend in hindi cinema and takes a great deal of directorial ability. A brilliant direction could have been better supported with crisp editing. 

All in all, It appears as an expriement conducted with conviction, sincerity and capability. Kudos to all those who preferred to play along the risk that seems to have paid off. After getting out of theatre, I texted a friend of mine involved in making this film that ‘I don’t feel like I have watched a Gujarati movie’. Indeed, this movie transcends through the medium of language and conveys what a meaningful cinema should – pure entertainment. It feels good to remind oneself durintg the movie that It is indeed a Gujarati movie. While I could not get to see the the last Gujarati release, the screen was almost houseful yesterday. And, as a Gujarati, I am proud of witnessing the change.