Cast: Manoj Bajpayee, Mohammed Zeeshan Ayyub, Smita Tambe, Megha Mathur, Tannishtha Chatterjee
Director: Devashish Makhija
Ratings: ⭐️⭐️⭐️ and a half
Review: In Joram, Dasru (Manoj Bajpayee) embarks on a desperate run from Mumbai to Jharkhand after the tragic death of his wife, Vaano (Tannishtha Chatterjee). The film explores Dasru’s relentless escape from adversity, running not just physically but from the constraints imposed by life. Devashish Makhija crafts a tale that delves into the choices one makes when life offers no options.
Makhija’s dual role as writer and director brings a haunting coherence to the narrative. The script is skillfully woven with political undertones, delving into the struggles of illegal migrants. The film’s immersive quality is heightened by the contrasting moments in the lives of the central couple, supported by Makhija’s spectral touch. The exploration of anarchism amidst those in power adds depth to the gripping storyline.
Makhija’s strength lies in making the audience truly ‘taste’ the film through its frames. The cinematography by Piyush Puty, combined with bullseye editing from Abhro Banerjee, delivers a masterclass in the ‘train chase’ scene. The film’s visual elements, coupled with tight screenplay, create an otherworldly thrill that captivates the viewer. The emotionally charged scenes, framed against symbols like Bharat Ka Sanvidhan, showcase the film’s meticulous attention to detail.
Performances
Witnessing Manoj Bajpayee on screen is akin to experiencing a seamless embodiment of character; he doesn’t act, he becomes. Transitioning seamlessly from Family Man to Bandaa and now Joram, Manoj consistently crafts a delectable performance, adeptly utilizing whatever ingredients the script provides.
Enter Mohammed Zeeshan Ayyub, whose portrayal of Ratnakar becomes the epitome of a fatigued police officer grappling with sleepless nights. Ayyub expertly navigates the delicate balance between the desire for respite and the relentless pursuit of truth within the tormented life of his character. His performance is precisely calibrated, revealing just enough to bring Ratnakar to life without excess.
Tannishtha Chatterjee graces the narrative like a warm, comforting day within the story’s night, young and fraught with terrors. Her contribution, though deemed a personal journey, is integral to maintaining audience engagement in the heart-wrenching love story alongside Manoj’s Dasru.
In the role of Phulo Karma, the tribal leader driven by a political vendetta, Smita Tambe delivers a flawless performance. Every aspect, from her resonant voice to nuanced behavior, earns a perfect score. Megha Mathur, portraying Bidesi, Phulo’s right-hand, leaves an indelible impact, completing the ensemble of stellar performances that enrich the tapestry of Joram.
What Doesn’t Work
Devashish Makhija, wearing his writer’s hat, tends to follow a familiar pattern of making his films mainly for international film festivals, which might limit the broader appeal of the movie.
Direction and Music
Devashish Makhija’s direction earns accolades for its excellence, although the film’s narrative faces challenges due to its prolonged conflict. Makhija’s writing occasionally succumbs to the temptation of catering to international film festivals, but the overall direction remains top-notch. Mangesh Dhakde’s haunting background score adds to the film’s gloomy atmosphere, perfectly complementing the emotional sequences.
Lastly, Joram is a cinematic journey masterfully led by Manoj Bajpayee, bringing audiences back to a world that exists but isn’t always embraced. While the film may not be for everyone due to its weightiness, it offers a unique and enjoyable experience. Makhija’s storytelling prowess, coupled with standout performances, makes Joram a compelling watch for those seeking a break from mainstream masala cinema.
-by Jeet Pasad