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Masaan: Difference between revisions
Grammatical Changes
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Set in present-day [[Varanasi]], [[Uttar Pradesh]], [[India]], the plot of ''Masaan'' follows two seemingly separate stories that converge eventually.<ref name=variety>{{cite web|url=https://variety.com/2015/film/festivals/cannes-film-review-masaan-1201504265/|date=23 May 2015|title=Cannes Film Review: ''Masaan''|author=Jay Weissberg|access-date=27 July 2015|work=Variety}}</ref> | Set in present-day [[Varanasi]], [[Uttar Pradesh]], [[India]], the plot of ''Masaan'' follows two seemingly separate stories that converge eventually.<ref name=variety>{{cite web|url=https://variety.com/2015/film/festivals/cannes-film-review-masaan-1201504265/|date=23 May 2015|title=Cannes Film Review: ''Masaan''|author=Jay Weissberg|access-date=27 July 2015|work=Variety}}</ref> | ||
The first of these tells the story of a trainer at a coaching computer | The first of these tells the story of a trainer at a coaching computer center Devi Pathak ([[Richa Chadda]]). The film opens with her and her student, Piyush Aggarwal, checking into a hotel room. They are interrupted during sex when policemen burst in, having been tipped off by hotel staff who suspected Devi and Piyush were indulging in "indecent behavior". Inspector Mishra (Bhagwan Tiwari) records the barely clad Devi on his mobile phone while Piyush locks himself in the bathroom and commits suicide by slitting his wrists. Devi and her father Vidyadhar ([[Sanjay Mishra (actor)|Sanjay Mishra]]) are subjected to blackmail by Inspector Mishra, who demands a hefty bribe of {{INRConvert|300|k|lk=r|year=2015}} to hush up the matter. In desperate need of money, Vidyadhar begins to indulge in a betting game, where people bet on small boys to dive and collect the maximum number of coins from the [[Ganges]] riverbed within a specified time. He lets people bet on Jhonta (Nikhil Sahni), an orphan who works for him after Jhonta volunteers himself for the game. Meanwhile, Devi has to switch jobs due to the stigma associated with her having pre-marital sex. She eventually gets a government job in the railways in Varanasi, but news regarding her pre-marital sexual indulgence reaches there as well. | ||
The second narrative concerns Deepak Kumar ([[Vicky Kaushal]]), a Varanasi boy from the [[Domba|Dom]] community whose family works in [[Ghats in Varanasi|cremation ghats]] by burning funeral pyres. Deepak wants to transcend the restrictions of a casteist society. He studies civil engineering at a polytechnic college where he meets and falls in love with Shaalu Gupta ([[Shweta Tripathi]]), a high caste Hindu girl. They start meeting each other and during a trip to [[Allahabad]] on the banks of the Ganges, they share an intimate moment. Back in Varanasi, Deepak tells her about his caste and the work he does burning corpses. Shaalu remains firm and tells him that she will be with him even if her parents refuse. She asks him to focus on his placements and get a job, while she reaffirms her commitment to him. | The second narrative concerns Deepak Kumar ([[Vicky Kaushal]]), a Varanasi boy from the [[Domba|Dom]] community whose family works in [[Ghats in Varanasi|cremation ghats]] by burning funeral pyres. Deepak wants to transcend the restrictions of a casteist society. He studies civil engineering at a polytechnic college where he meets and falls in love with Shaalu Gupta ([[Shweta Tripathi]]), a high caste Hindu girl. They start meeting each other and during a trip to [[Allahabad]] on the banks of the Ganges, they share an intimate moment. Back in Varanasi, Deepak tells her about his caste and the work he does burning corpses. Shaalu remains firm and tells him that she will be with him even if her parents refuse. She asks him to focus on his placements and get a job, while she reaffirms her commitment to him. | ||
However, unfortunately, during a pilgrimage trip with her family, Shaalu dies in a ghastly bus accident. Her body with those of other victims ends up at the same cremation ground where Deepak's family works. Deepak is shattered on seeing her dead body and loses all purpose in life. He retains her ring as a souvenir. Deepak is eventually able to overcome his grief and discards Shaalu's ring in the Ganges. He gains a placement as a civil engineer in Allahabad. Later that same ring is picked up by Jhonta who loses consciousness underwater while collecting coins. He regains consciousness in hospital and gives the ring to a remorseful Vidyadhar, who decides to stop playing with Jhonta's life. He sells the ring and is finally able to pay off Inspector Mishra. | However, unfortunately, during a pilgrimage trip with her family, Shaalu dies in a ghastly bus accident. Her body with those of other victims ends up at the same cremation ground where Deepak's family works. Deepak is shattered on seeing her dead body and loses all purpose in life. He retains her ring as a souvenir. Deepak is eventually able to overcome his grief and discards Shaalu's ring in the Ganges. He gains a placement as a civil engineer in Allahabad. Later that same ring is picked up by Jhonta who loses consciousness underwater while collecting coins. He regains consciousness in the hospital and gives the ring to a remorseful Vidyadhar, who decides to stop playing with Jhonta's life. He sells the ring and is finally able to pay off Inspector Mishra. | ||
Marred by the parochial mindset of people regarding her situation, Devi leaves Varanasi and joins a course in Allahabad University. She pays a visit to Piyush's family only to be slapped by his father. She comes to the banks of the Ganges to immerse the gift Piyush had given her on that fateful day in the hotel. Deepak, who is by the bank, notices her crying and offers her water to drink. A boatman beckons, offering both of them a ride towards [[Triveni Sangam#Triveni Sangam in Allahabad|Sangam]]. They both board the boat and strike up a conversation. | Marred by the parochial mindset of people regarding her situation, Devi leaves Varanasi and joins a course in Allahabad University. She pays a visit to Piyush's family only to be slapped by his father. She comes to the banks of the Ganges to immerse the gift Piyush had given her on that fateful day in the hotel. Deepak, who is by the bank, notices her crying and offers her water to drink. A boatman beckons, offering both of them a ride towards [[Triveni Sangam#Triveni Sangam in Allahabad|Sangam]]. They both board the boat and strike up a conversation. | ||
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''Masaan'' received overwhelming critical acclaim from the mainstream media. Calling it "a very engaging debut" by Neeraj Ghaywan, Allan Hunter in ''[[Screen International|Screen Daily]]'' wrote, "[[Vicky Kaushal]] brings a gauche charm to Deepak and [[Richa Chadda]] invests the long suffering Devi with a weary, unwavering determination to move forward. Cinematographer Avinash Arun Dhaware captures some fantastic images of Banares that convey the bustling spirit of the city from the brightly lit street markets to the flurry of sparks that dot the night sky from the funeral pyres."<ref name=screen>{{cite web|url=http://www.screendaily.com/reviews/masaan-review/5088466.article|date=20 May 2015|title='Masaan': Review|author=Allan Hunter|access-date=27 July 2015|work=Screen Daily}}</ref> Deborah Young writing in ''[[The Hollywood Reporter]]'' described the film as "a classically poignant drama of star-crossed love" and "part of the new generation of indie films whose clear intent is to set ablaze a hidebound society’s constrictions on personal liberty."<ref name=hollywood>{{cite web|url=http://www.hollywoodreporter.com/review/masaan-cannes-review-797795|date=24 May 2015|title=Masaan': Cannes Review|author=Deborah Young|access-date=27 July 2015|work=The Hollywood Reporter}}</ref> Jay Weissberg in his review for the ''[[Variety (magazine)|Variety]]'' magazine, however, found it "a heartfelt yet overambitious tale of class and gender inequality" with the director failing to find "ways to overcome script and editing weaknesses, resulting in a disappointing drama."<ref name=variety/> | ''Masaan'' received overwhelming critical acclaim from the mainstream media. Calling it "a very engaging debut" by Neeraj Ghaywan, Allan Hunter in ''[[Screen International|Screen Daily]]'' wrote, "[[Vicky Kaushal]] brings a gauche charm to Deepak and [[Richa Chadda]] invests the long suffering Devi with a weary, unwavering determination to move forward. Cinematographer Avinash Arun Dhaware captures some fantastic images of Banares that convey the bustling spirit of the city from the brightly lit street markets to the flurry of sparks that dot the night sky from the funeral pyres."<ref name=screen>{{cite web|url=http://www.screendaily.com/reviews/masaan-review/5088466.article|date=20 May 2015|title='Masaan': Review|author=Allan Hunter|access-date=27 July 2015|work=Screen Daily}}</ref> Deborah Young writing in ''[[The Hollywood Reporter]]'' described the film as "a classically poignant drama of star-crossed love" and "part of the new generation of indie films whose clear intent is to set ablaze a hidebound society’s constrictions on personal liberty."<ref name=hollywood>{{cite web|url=http://www.hollywoodreporter.com/review/masaan-cannes-review-797795|date=24 May 2015|title=Masaan': Cannes Review|author=Deborah Young|access-date=27 July 2015|work=The Hollywood Reporter}}</ref> Jay Weissberg in his review for the ''[[Variety (magazine)|Variety]]'' magazine, however, found it "a heartfelt yet overambitious tale of class and gender inequality" with the director failing to find "ways to overcome script and editing weaknesses, resulting in a disappointing drama."<ref name=variety/> | ||
Senior journalist [[Shekhar Gupta]] wrote in his ''National Interest'' column that ''Masaan'' left a deep impression on him, "get[ting] the pulse of small-town India as no other I have seen."<ref>{{cite web|url=http://www. | Senior journalist [[Shekhar Gupta]] wrote in his ''National Interest'' column that ''Masaan'' left a deep impression on him, "get[ting] the pulse of small-town India as no other I have seen."<ref>{{cite web|url=http://www.daily.in/arts/masaan-neeraj-ghaywan-richa-chadha-middle-india-youth-small-towns-dil-dhadakne-do-bunty-aur-babli/story/1/5180.html|date=24 July 2015|title=Masaan: Rise of the new middle India|author=Shekhar Gupta|access-date=27 July 2015|work=Daily O}}</ref> The director has woven Ganga intimately into Varun Grover's tight screenplay, Gayatri Gauri wrote in ''[[Firstpost|First Post]]'' adding "Several crucial moments swirl around the Ganga, beautifully shot without succumbing to visual exotica, and after you leave the cinema, they linger in your memory, like the flames dying slowly in the cremation grounds where so much of Masaan unfurls."<ref>{{cite web|url=http://www.firstpost.com/bollywood/masaan-review-poignant-tender-beautiful-cannes-winner-portrait-small-town-india-2358906.html|date=23 July 2015|title=Masaan review: Poignant, tender and beautiful, this Cannes winner is a portrait of small-town India|author=Gayatri Gauri|access-date=27 July 2015|work=First Post}}</ref> | ||
Shubra Gupta wrote in ''[[The Indian Express]]'', "''Masaan'' is imbued with a sense of place and time, poetry and lyricism, and it captures the essence of Banaras, constant-yet-changeable, with felicity and | Shubra Gupta wrote in ''[[The Indian Express]]'', "''Masaan'' is imbued with a sense of place and time, poetry and lyricism, and it captures the essence of Banaras, constant-yet-changeable, with felicity and feel. It also announces the arrival of new talents in its writer and director: Grover’s story is eminently worth telling, and Ghaywan tells it beautifully."<ref>{{cite web|url=http://indianexpress.com/article/entertainment/movie-review/masaan-movie-review/#sthash.Eg4SqFlq.dpuf|date=19 July 2015|title=Masaan review: There is a tussle between what has always been, and what can be|author=Shubra Gupta|access-date=27 July 2015|work=First Post}}</ref> "Ghaywan, in his very first film, creates a deeply affecting world that devastates and uplifts at the same time, and that becomes a part of your world long after the film is over," wrote Nikhil Taneja reviewing the film for ''[[The Huffington Post]]''.<ref>{{cite web|url=http://www.huffingtonpost.in/nikhil-taneja-/masaan-review-a-fine-film_b_7869922.html|date=25 July 2015|title=Masaan Review: A Fine Film Packed With Fantastic Performances|author=Nikhil Taneja|access-date=27 July 2015|work=The Huffington Post}}</ref> | ||
==Controversy== | ==Controversy== | ||
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[[Category:Hindi-language drama films]] | [[Category:Hindi-language drama films]] | ||
[[Category:Pathé films]] | [[Category:Pathé films]] | ||
[[Category:Films about the caste system in India]] | |||