Review: 'Gajar' is an emotional journey of the devout

Film: Gajaar (U)
Cast: Chinmay Mandlekar, Sukhada Yash, Edward Sonnenblick, Suhas Shirsat, Umesh Jagtap
Director: Ajit Bhairavkar
Rating: ***

Watching a Marathi film after a very long time with the intention of writing about it brings a mixture of emotions to the fore in someone used to fixtures of mindless Hindi dramas and comedies.

Bearing the tagline ‘Journey of the Soul’, Gajaar tracks the life of a passionate and egoistic filmmaker Parth (Mandlekar) over a span of 18 days. These 18 days are no ordinary time span; they correlate to the grand pilgrimage ‘wari’ to Lord Vitthal’s abode in Pandharpur, Maharashtra, undertaken by roughly 20 lakh devotees every year. These devotees, known as ‘warkaris’, walk from Alandi to Pandharpur chanting prayers and praises to the deity.

Bhairavkar chooses a very interesting subject for his first film. Apart from showcasing the euphoria and faith of the devotees, he stealthily weaves the 18 adhyayas (lessons) of Saint Dnyaneshwar) into the script, adding to the weight of the overall canvas.

Atheist Parth is approached by anthropology student Eric (Sonnenblick), an American who wants to make a film on the wari. After much persuasion, Parth is convinced by live-in girlfriend Geetali (Yash) to provide technical expertise for the film, which they shoot on location. The film tracks the positive transformation of Parth from an egoistic, self-centred man to a Vitthal faithful against the backdrop of the 18 adhyayas.

Bhairavkar makes passing mention of issues such as farmer suicides, family values and community living.

Bhairavkar’s motive is clear: he wants to touch the religious nerve of every Marathi by waking them up to the gajaar (echoing sound) made by the warkaris. He also aims to make universal impact by smartly segueing the adhyayas or ways to live a better life with the story of Parth and his relationship with other characters. Cinematographer Amol Gole captures the true spirit of the wari: the downright earthiness, the rapturous mood, the varied emotions. The music by Shailendra Barve, which ranges from foot-tapping to devotional to poetic, makes a world of a difference to what could easily have been a boring, spiritual monologue.

The documentary treatment in parts adds to the spontaneity of the film which was shot in real locations with real people.

Gajaar’s biggest strength remains its casting, with protagonist Mandlekar outshining all others with a stellar performance and natural ability to emote through his face. Yash, Sonnenblick and the others add value in their own way to present a package that the Marathi-speaking audience is sure to appreciate. The protagonist embodies every emotion and trait envisioned by director Bhairavkar.

Gajaar is not without its flaws, the length being its biggest drawback. Running at over two and a half hours, the wari scenes tend to get monotonous after a while. Some adhyayas looked misplaced against the mood of the scenes. Those not spiritually inclined will find it preachy and a mass of blind faith aspiring to make a quick buck playing on the sentiments of people.

But Lord Vitthal’s devotees are sure to enjoy this soul-searching journey. And Bhairavkar gives even the non-devotees many reasons to try this one.