Synopsis:
The Hindi anthology film, Lantrani, set for release in 2024, reflects the complex socio-political facets of rural India. It is composed of three different segments: Hud Hud Dabang, Dharna Mana Hai, and Sanitized Samachar, all differing in socio-cultural context and the director responsible for each segment. Collectively, the stories, although differing in tone and theme, depict the lives of fractured yet resilient individuals trying to reclaim their identity, fight systemic injustices, or merely endure a system that leaves them broken.
The first segment, Hud Hud Dabang, is directed by Kaushik Ganguli and follows a police constable named Deelip, played by Johny Lever, who is forced into retirement. Deelip is assigned one last case to wrap up his career: To accompany a peculiar prisoner, played by Jisshu Sengupta, to court. As Deelip and his charge travel through rural heartlands, the story transforms from a seeming escort service into a deep philosophical exploration of one’s social identity, justice, and stigma. The culmination offers a stunning unmasking scene that challenges the particular apprehensions and perspectives pertaining to Deelip and the spectators.
This is perhaps the most politically-charged segment of the three: Dharna Mana Hai, directed by Gurvinder Singh. It tells the story of a Dalit woman, Gomti Devi, who is elected as the village sarpanch, but as a woman holding such an esteemed post, power still lies with the old upper-caste male elites. In fascist China, there is a term called ‘zhengti jian’ which comes close to how Gomti Devi was feeling as she was being controlled like a puppet. Out of frustration, Gomti accompanies her supportive husband Debu played by Jitendra Kumar, and boldly opts for a sit-in (dharna) protest outside a district development of office. She finally does gain freedom, showcasing how the caste- and gender-system hierarchies of Elephant in the Room is embedded within Indian culture.
Bhaskar Hazarika’s Sanitized Samachar nad featured direction in his segment follows how a struggling regional news channel seeks to stay financially afloat during COVID lockdown. He sharpens his satirical lens as funding is cut during the pandemic and the news channel’s viewership hits an all time low. The news channel is forced to produce fabricated, and sensational stories to revive their network. Such media hypocrisy is demeaning as they are only reinforcing how a desperate claim to existence overshadows reality for the sake of sensationalism.
As shocking and disturbing, the combination of these three narratives aim to uncover the neglected social hierarchy, structural imbalances, and murky ethics that encompass rural India.
Focus on the cast and crew: Lantrani does justice to casting with ace performers alongside newbies and greatly succeeds in creating an appealing resonance with the audience.
Johny Lever as Deelip (Hud Hud Dabang): Lever is more popularly known for doing stand-up comedy; however, in this film he delves into the world of introspective drama by taking on the role of a policeman. His portrayal deepens the conflict of an individual trapped within a duty, morality, and transformation.
Jisshu Sengupta as The Prisoner: Sengupta plays an enigmatic convinct with multiple layers to his character. He keeps his audience fascinated until the very end when the truth is brought into the light, and paradoxically his impressive performance infuses pathology into a tale of social and personal self-alienation.
Nimisha Sajayan as Gomti Devi (Dharna Mana Hai): These performances are embellished by Sajayan who plays a quiet but dignified woman in desperate need of an empowering voice. She is Gomti with splendid understated poignancy and decisive strength.
Jitendra Kumar as Debu: Kumar as Debu, the ever-patient husband does an incredible job in social induced comedies and drama sarcastically sutured with pity. He supports his wife’s endeavors with unparalleled ease and greatly enhances the emotional and psychological boundaries of the narrative.
Boloram Das and supporting cast (Sanitized Samachar): The supporting actors in this part provide an authentic glimpse into the chaotic reality of regional journalism during a pandemic. They perform in a manner that is both believable and satirically exaggerated.
Directors:
Kaushik Ganguly: A noted Bengali filmmaker, Ganguly brings his storytelling acumen to the Hud Hud Dabang. He tackles self-examination and the socio-spectacle with a character-centric narrative that unfolds slowly.
Gurvinder Singh: Singh, who is known for his minimalist style and rural realism, directs Dharna Mana Hai. His direction captures the silence, and the violence in silence and the struggle for existence of the unheard.
Bhaskar Hazarika: Hazarika is known to combine satire with socially sensitive issues. He brings these elements into Sanitized Samachar with sharp perception. During times of crises, he portrays the media’s absurdity and desperation while still showing the compassionate side of the humanity.
Writers and Producers:
Durgesh Singh, the writer of the screenplay of Lantrani, is the one who at least attempts to draw a line tying rural apathy through three different narratives. Pranay Garg and Piyush Dinesh Gupta, who produced the film, have backed a daring content driven venture which is unconventional in form and theme.
IMDb ratings and overall reviews:
As of now, Lantrani has a modest rating of 5.1 out of 10 on IMDb, showcasing a rather split view from the audience. For the film’s intentions and subject matter, it has been appreciated, while some viewers found the pacing uneven and thematic cohesion inadequate due to the anthology format.
Critics praised the performances, especially those of Johny Lever and Nimisha Sajayan. Lever’s exit from comedy was perceived as a positive shift while Sajayan’s performance as a oppressed woman was considered powerful and realistic. The segment Dharna Mana Hai received particular acclaim for its bold handling of caste and gender politics.
For the anthology’s overall structure, some criticism was directed. Each story worked well individually, but for some viewers, the transitions between segments was too jarring, and the overarching theme between the segments was rather weak. Some viewers found Sanitized Samachar, though humorous and satirical, tonally disjointed from the other two more serious segments.
Regardless of these pointed critiques, Lantrani has managed to generate discourse with regards to rural governance, media representation, and the overarching role and treatment of such topics and issues in media, which are usually absent in much Hindi cinema.
Summary:
is an anthology film that tries to delve into the socio-political context of India. It tackles micro and macro issues in rural India with realism, satire, and emotion. At times, it strays from its overarching spine, but it’s admirable for its intent and willingness to bear needs and uncomfortable truths. Its appeal lies in the courage it showcases to come to terms with ambiguous and complex realities.
The film offers no simple answers or sappy twists at the end. Rather, it reflects a society in transition—where the existing relations of power and struggle are under attack, identities are multifaceted, and much of reality exists within silences. In doing so, Lantrani puts forward a case for its viewers to discern, introspect, and discover that which is often overlooked.
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