A person has many defining moments in his life that either liberate or restrict him. Some bring in spells of celebration that fill his life with happiness whilst others usher in bouts of despair and despondency. By birth when you are born in a certain caste, the label that it carries is one that trudges alongside the person no matter where they go or who they become. Being born into a specific caste is a choice that is not ours to make and will never be.
Associating yourself with a particular caste is looked down upon in our society due to the strict ideology and values of archaic times. There are various factors that contribute to shaping a person’s experiences in life however when they prove to be stumbling blocks instead of stepping stones, a person feels caged inside of them and yearns for emancipation.
One such film that depicts the abrasive reality that prevalently sits amongst us in this modern age is Fandry (2013). Helmed by Nagraj Manjule in his directorial debut, Fandry traces the story of Jambuwant Kachru Mane (Somnath Awghade), a Dalit boy who is hopelessly besotted with his upper-class classmate Shalu (Rajeshwari Kharat). He constantly finds himself at crossroads when he begrudgingly has to help his family in the menial tasks that they are obligated to do due to the circumstances they were born in. Rebellious, resilient and ambitious with dreams that they cannot afford to fulfil, Jabya tries to navigate through his daily life amongst the unceasing mockery that is hurled at him.
Nagraj Manjule in his directorial debut offers the viewers a glimpse into the daily life of a boy who is torn between responsibilities and the longing for a change in the reality that he confronts every single day. Jabya’s behaviour and actions of agitation are one we are all familiar with as he tries clinging onto withering hope, a luxury he does not wish to part ways with.
The numerous juxtapositions peppered throughout the film offer the viewers a stark contrast of the world that they are oblivious to. In school, the children are taught a poem by Sant Chokamela, “Abhang”. The poem emphasises a person’s characteristics and not what religion or caste they belong to with the lines - “The juice of the sugarcane does not look like the plant but we judge things based on their appearance; the arc is curved but not the arrow but we judge things based on their appearance”. However, the succeeding scenes present conforming hypocrisy that finds itself rooted in the minds of the villagers with the headmaster and teachers smirking at the mention of a student being touched by a pig.
The playground incident threw light on the disproportionate view with which the children instinctively follow the dated mindset that they are introduced to in spite of standing in front of pictures of B.R Ambedkar and Savitribai Phule – revolutionaries who championed against caste discrimination. The camera angles used to capture the plight of the Dalit family are steady in their focus despite the frequent misfortunes that pester them, a subtle difference that Manjule expertly uses to his advantage.
The nightmares that plague our protagonist are akin to the treatment that is meted out to him during the day. With sparse dialogues that play out repeatedly during the scene depicting the fears that vex Jabya, his inhibitions of being seen as someone similar to an animal he hunts is shown through Somanth’s distinct acting. Kishor Kadam’s portrayal of a father shackled by societal thinking which tries to make the best with the bare necessities granted to them is one that resonates with the audiences. His restrictive nature of not allowing Jabya to enjoy the village celebrations comes from a place of familiarity as he does not want his son to carry a false sense of hope and change within him.
Like every other naïve child, Jabya believes in the entrancing story of the Black Sparrow and throughout the film we see his quest for the bird alongside his friend Pirya whose companionship is a respite for him amidst the physiological and physical atrocities that are inflicted upon him. However, his final capture is not the prize he was coveting but a black pig - a reflection of the work he tried so hard to distance from.
His furious outburst at his tormentors pushes Shalu to see him in a different light than what he intended. However, the outburst gave Jabya an outlet to express his pent-up emotions at the status quo that encapsulates him. Albeit we do not know the outcome of Jabya’s action due to the open-ended conclusion, the viewers consequently are encouraged to draw up their own inferences.
Nagraj Manjule’s directorial venture and his authentic approach to casteism is reflected in the several accolades that the film was showered with. We may pride ourselves on being sentient individuals in the 21st century yet the traditions that our ancestors left us with still run amok. Fandry is such a film that provides the viewers with a deeper look into the ancient fabric of our beliefs that have continued to stand the test of time.