An atypical survival drama

Johnson Thomas

‘Joram’ is basically a revenge drama with a backdrop of unrest in a marginalised tribal community. It hightails the efforts of a construction site worker, Dasru Karketta/Bala (Manoj Bajpayee), who has had a secret violent past, fleeing for his life with his three-month-old daughter after his wife (Tannishtha Chatterjee) is brutally murdered.

Devashish Makhija’s gripping non-linear narrative takes the route of an atypical survival drama, laced with eye-opening social commentary. When tribal lands in Jhinpidi get usurped by ‘Pragati’ steel, it’s an apt example of lopsided development. Obviously, the tribals are displaced and with nowhere to go, take up arms to defend their inalienable rights. Designated as Maoists, they face the brunt of the State. Dasru’s attempt to escape from violence only forces him back into the same stream.

The nicely-layered story presents a ringside view of the socio-political upheaval and makes a telling statement on the impact of development on the environment. While initially, Dasru is presented as a simple, hard-working, struggling labourer, we gradually get to know of his past as a member of a Maoist gang and later on, are confronted by the consequences of that past — in the form of MLA Phulo Karma (Smita Tambe in a scene-stealing role). The legislator is in hot pursuit with all intentions of wreaking vengeance for an act that he, Dasru, was an active participant in.

Mohammed Zeeshan Ayyub, as Inspector Ratnakar on the case, provides the balance in a narrative that weighs heavily against the survival of the hapless seeking a new way of life.

Though impactful, the film lacks edge-of-the-seat tension because the story itself feels a little flaky. Why would Dasru go back to the very place he fled from when there’s the whole of India to get lost in? Another thing that bothered me was the way the child was being carried on Dasru’s back in a sling that left little room for breathing. While the script may feel a little underdeveloped, the treatment and performances are arguably top-notch. The tribal way of life is depicted in a realistic fashion and the actors do wonderfully well to immerse themselves in the milieu and become one with the people they represent.

Ace cinematography by Piyush Puty lends immediate authenticity to tribal life and the chase that ensues, while keeping the principal characters in prime focus. Visual storytelling with a few incisive dialogues is the highlight here. The film manages to grip the audience mainly because of some wonderful supporting performances and a completely rooted performance from Manoj Bajpayee. From the moment he appears on screen to the very end, he makes you believe in him and inevitably, you can’t help but empathise with his helplessness.