Joram by Zee Studios has been popular at the film festival circuits and now it is gearing up for a theatrical release. Director Devashish Makhija has a knack for weaving hard-hitting social themes through the visual medium, especially in previous titles like Ajji (2018). He unites with Manoj Bajpayee since Bhonsle on SonyLIV.
Dasru (Bajpayee) is a tribal villager working at a construction site in Mumbai. He is the classic innocent man on the run, on the way back to his village, Jhinpidi in the state of Jharkhand, with three-month-old daughter Joram in his arms, pursued by police officer Ratnakar (Mohammed Zeeshan Ayyub) for a crime he never committed.
The situation gets hotter as local politician Phulo Karma (Smita Tambe), with emotional wounds becomes increasingly desperate for retribution. In a tense survival thriller across a brutal landscape of devastated forests, blind greed, rebellion, and the bloody aftershocks of “development”.
Quite interestingly, a few thrillers of this nature have been highlights at the film festival circuits. Another such title is Karan Tejpal’s Stolen, which also highlights another cat-and-mouse chase amidst class disparity and socio-political conflict. In that film, the use of close-up shots are used to create a sense of entrapment. Here too, the close-up escape sequences in the galis enhance the sentiment of claustrophobia.
Makhija’s eye for aesthetic storytelling is stunning. The constant movement of cameras during the action sequences, create a very edgy feel. Even the brownish colour schemes and wide mountainside symbolise how the deep-rooted issues have piled on for years on end. Desert locations are not stunning to watch, but create a constant feel of enigma and suspense. In fact, the external locations are metaphorical for the marginalised people.
The brown and yellow colour grading creates a rustic feel, fully encompassing the rural atmosphere. The editing is sharp too, which helps transition the scenes throughout the movie.
Bajpayee delivers a milestone performance here. The vulnerability yet fierceness is excellently portrayed. This is arguably his most multi-layered character in which he completely detached himself as ‘an actor’ to a man who is socio-politically and ethically trapped.
Ayyub shines as a majorly silent observer. His expressions and body language make huge statements, even at times when there are minimal to no dialogues. Through both characters, we can witness a subliminal tussle between indigenous civilisation and contemporary establishment. Yet, this is not drenched in machoism, but sensitively portrayed. Tambe also delivers a landmark performance, she is brilliant.
Given its short duration, perhaps one would have wished that extra minutes were spared in completing the narrative fully, rather than just leaving it on an anti-climax. It is understandable that this is done to leave viewers feeling on-edge, but one would have preferred a more nuanced conclusion.
Made on a modest budget, Joram is an absolute gem to release amongst other major flicks. It seems to reinvigorate flavours of societally-driven art in pictures by filmmakers like Shyam Benegal. With earnest performances by actors like Bajpayee, the hunt here will continue to chase our conscious as time progresses.
⭐️⭐️⭐️⭐️ (4/5 stars)
