Heat & Lust

This is one of the most telling scenes from Mahesh Manjrekar’s latest Marathi film Kaksparsh. It depicts the haunting presence and denial of love in its raw nature,not as culturally handcuffed by chastity or fidelity. Numerous films have depicted heterosexual love,transcending barriers of urban-rural,rich-poor and familial divides,some have had narratives of extra-marital relationships. But rarely has a Marathi film fathomed the nuances of a man-woman relationship without using stereotypes or moral grandstanding. A fascinating story written by Usha Datar and sensitively directed Kaksparsh fills that void.

The film is set in the beautiful Konkan belt in the last phase of British period (1930-50) when Maharashtra was undergoing a social transition from being dominated by Brahminical orthodoxy to modernity. While some remained stuck to orthodoxy,branding liberal values as bad omens of the proverbial Kalyug’; others swung completely to the other side.

Haridada,one of Kaksparsh’s central characters,represents those who wanted to live the two extremes with ease. The middle-path helps and hurts,encourages yet discourages love. In the end,it forcefully brings out the finer sensibilities of a man-woman relationship,both its platonic and physical dimensions.

In the unfolding of vilakshan (not conforming to set patterns)–which is also the film’s tag line–the story progresses and regresses,in a gripping narration supported by an authentic setting of the times. It revolves around Haridada and his younger brother Mahadev’s widow Uma,young enough to be his daughter.

Mahadev’s death on the first night of his wedding shakes Haridada,who makes a pledge to his departed brother’s soul when the crow refuses to touch the pind (cooked rice). The fulfilment of this pledge takes everyone in its sweep. Uma and Haridada suffer silently in the pain of a love that fails to overcome a Haridada’s promise who refuses to touch or talk to Uma.

Oscillating between physical and emotional attraction for her brother-in-law,she gets emotionally wrecked and gives up food,forcing Haridada to explain why he could never embrace her love. Satisfied,Uma dies a peaceful death.

Dexterous camera work,competent editing and art direction recreates the period of the story in a technically sound way. Manjarekar admits this is his best film so far. Little wonder that it is still drawing a full house,rare for a Marathi film. Priya Bapat as Uma in the post-interval part impressively plays the “problem” woman. But the soul of the film is Sachin Khedekar with his brilliant portrayal of Haridada. He makes Kaksparsh a film to remember for a long time.