A Life of Catching the Dead – Beyond Bollywood

The film by writer Sunny Lahiri and director Gaurav Madans has a real feel but is hardly engaging. Gyanendra Tripathi, Bhumika Dube and Geetika Vidya Ohlyan deliver heartfelt performances.

Rating: (2/5)

By Mayur Lookhar

One is a creation of the environment in which they are raised. Every time we say that, don't we tend to paint a certain picture of that environment? Varanasi is therefore a story of ghats, pyres and Mukti Dhams? Yours truly has never been to Banaras or Varanasi, but those who know the city dispel this cinematic notion of the holy city of Uttar Pradesh.

Sooraj [Gyanendra Tripathi] the world is largely based on these ghats. He earns his living by capturing the dead and perhaps contributes to perpetuating the family tradition by shaving the heads of the deceased's relatives. He chose photography, but there is a banality in his face. His father's poor health, declining income, and rising costs all contributed to this phase. Sooraj looks like a man carrying the weight of the world on his shoulders. He has no answers, seems resigned to fate, but he is not ready to give up his life of capturing the dead.

Few people would want such a life, especially city dwellers. Sitting far away in the concrete urban jungle, one might wonder if this is really what life in Varanasi is like. So can an average viewer be attracted to Barah By Barah (2024)? The film by writer Sunny Lahiri and director Gaurav Madans has a real feel. We don't like Bollywood masalas; Not every movie has to be entertaining, but it does have to be engaging. Barah By Barah, however, fails to generate much engagement.

Its content, narration and style are suitable for festival screening. The film traveled to a few cinemas, including the Shanghai International Film Festival. We don't know the response from the field, but the first half looks like a snooze party. It's slow, dull even for a slow burn. Containing practically no dialogue, the film relies on its atmospheres and expressions rather on the absence of its main character. It's not that Tripathi is below average; it’s the storyline that asks viewers to just feel Sooraj’s internal turmoil. The prolonged silence threatens to put you to sleep and, for once, the hushed whispers in the cinema room don't bother you.

The chapter-based narrative resembles “The Barber, the Friend, the Son, the Wife” and culminates with “The Last Photograph.” Most of the time, the viewer struggles to find a strong and engaging story. Things become clear in the last 45 minutes. Even though the narrative may not be engaging, one can relate to Sooraj's state of mind. How often do we find ourselves trapped in monotony, unable to recognize that life is quietly yearning for change, not necessarily in our profession, but in our environment.

A Barah By Barah also reflects life during a time of transition in a place like Varanasi. Director Madan cleverly incorporates the political promises and structural changes that are part of this phase, while cultural references remain largely intact along the river banks.

Amidst the subdued tension, what is likeable is the relationship between Sooraj and Meena. The couple embodies successful marriages in this country, even if patriarchy reigns there. Sooraj doesn't hesitate to tell Meena [Bhumika Dube] You don't have to think too hard, but deep down he knows his wife has the family's best interests at heart. Tripathi skillfully portrays Sooraj's internal turmoil. Although he is a man of few words, he indulges in a bit of chivalry, capturing candid photos of his wife and praising her beauty. Where are you, the queen of Indore, you died in the town of Masalas., he remarks playfully. The intimate scenes shot in an aesthetic manner convey real passion. However, the most captivating intimate moment occurs after a tragedy, when Meena takes it upon herself to cheer up her grieving husband. Sooraj-Meena's small-town chemistry will definitely inspire the couple's goals.

Not just a cameo, Geetika Vidya Ohlyan brilliantly plays Mansi, Sooraj's younger sister, who works at the Delhi Metro Rail Corporation Limited. The dynamic between Mansi and Meena stands in stark contrast to typical bickering sister-in-law relationships. Geetika's performance is particularly impressive in the emotional scenes.

Barah By Barah (12 x 12) is an appropriate title for a photographer's story. However, the film aspires to a better script and direction. Madan and Sunny Lahiri have stayed true to their story and culture, but a theatrical release demands a treatment that can captivate movie theater audiences. Unfortunately, most theaters are operating at limited capacity. While Barah By Barah may appeal to connoisseurs of art films, it's unlikely to put bums in empty seats. And this is the need of the moment.

The film is scheduled to hit theaters on May 24.