Dacoits in dilemma

Illustration/Uday Mohite

Sonchiriya is a spectacular Eastern Western, about the lives of dacoits, set in the rugged, dusty Chambal ravines in the 1970s, during the Emergency. But as this is an Abhishek Chaubey film, it is a flamboyant action genre film in Bundelkhandi, about dacoits in an existential crisis, seeking redemption. He pits the individual against destiny, wondering why they continue like this, plundering, murdering, their lives as arid as the landscape, but for a sense of duty to their caste and people. A dacoit considers surrendering, and wonders, "Gang se bhag loonga; apne aap se kaise bhagoonga?" (I can run away from the gang, but how can I escape myself?) Through his characters, Chaubey also makes sharp comments on Indian patriarchy, misogyny and the horrific crimes against women.

The film is about a gang of bandits on the run, led by Man Singh (Manoj Bajpayee), that includes Lakhna (Sushant Singh Rajput) and Vakil Singh (Ranvir Shorey), with police officer Virendra Gujjar (Ashutosh Rana) hot on their heels. On the way, Indumati Tomar (Bhumi Pednekar), who is risking her own life to save a young raped Dalit girl's life, asks for their help. The film underlines how having a conscience can make you a liability in the badlands.

Hindi cinema's epic bandit films include Bandit Queen, Sholay, Paan Singh Tomar and Gangs of Wasseypur. Chaubey has long been obsessed with crooks, and their relations with ordinary women who turn out to be surprisingly spunky (Ishqiya, Dedh Ishqiya; and drug runners and plucky women in Udta Punjab); his 'crooked' obsession continues with Sonchiriya. The women in all of Chaubey's films are mostly feisty, independent, and often bold about their sexuality. Here, Tomar is a victim, yet strong-willed. She gets the most iconic shot in the film: as the dacoits first see her, she simultaneously pulls down her ghunghat and raises her rifle at them. Woman crushed below and woman on top: it is a masterstroke. The presence of a woman humanises the macho bandits. At one point, when Phuliya (Phoolan Devi) invites Tomar, both survivors of patriarchal crimes, to join her gang, Tomar says she's a Thakur, and Phuliya replies: "Yeh jat sirf aadmiyon ke liye hai. Auraton ki jat hi alag hoti hai, sabse neeche." Chaubey also refuses to weave in a love story, though Lakhan and Tomar spend considerable time together. But there is an explosive revelation of a rape, that could have been a key plot point, but comes swaddled with confusing characters, and is over in minutes at the climax. Also, Sonchiriya (golden bird) represented here by a young, raped Dalit girl, is a mixed metaphor.

The performances by the ensemble cast, are gritty and compelling. Chaubey's direction has panache, with many set action pieces.

However, Sudip Sharma's screenplay, while solid, with well-etched key characters and back stories, has too many subplots with confusing character motivations and caste politics. Likewise, Meghna Manchanda Sen's editing, at 143 mins, could have been more taut. Nonetheless, Sharma's dialogues offer delicious black humour, as when Man Singh says: "Nobody died of government bullets. Only of its promises." Anuj Dhawan's splendid cinematography is a pillar of the film. Vishal Bhardwaj's songs are evocative. Overall, this is an engaging, thoughtful and demanding film. Kudos to Ronnie Screwvala's RSVP and MacGuffin Pictures for backing it.

Meenakshi Shedde is South Asia Consultant to the Berlin Film Festival, award-winning critic, curator to festivals worldwide and journalist. Reach her at meenakshishedde@gmail.com

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