Some very rare and precious works of art forge their own reality from the fragile raw material of distant dreams and untold passions.
MAINE GANDHI KO NAHIN MARA (MGKNM) is that tender dewdrop perched on a windy-swept leaf that clings by sheer willpower. Its strength comes from within rather than from extraneous cinematic powers stoking it into visible vibrancy. Instead Jahnu Barua builds a symphonic crescendo out of vignettes from the dining table.
An ideologically enthused patriarch rapidly degenerating into irretrievable memory-loss Prof Uttam Chuadhary (Anupam Kher) and his strong encumbered but unvanquished daughter Trisha (Urmila Matondkar) form the core of Barua's brilliantly designed chamber piece.
To the end the ailing failing father and the indomitable daughter keep the windows of the narrative open? so that we get a view right into the soul of humanity?
Barua is a master of nuances? He builds miniature domestic scenes like a carefully carved out doll's house where every room and its details are visible to the eye, which cares to look. Even as the distraught daughter suffers the consequences of her father's mental illness (job is lost, engagement is broken, but she is not) we get to see other characters (for example, the old man's two sons, the supportive shrink played by Pravin Dabas and the concerned maid enacted deftly by Divya Jagdale) move in and of the narrative's vision creating a stirring montage of images glimpsed through the window of a speeding train.