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Times of India
The film is a poignant tale of love, loss and religion.
An elderly Muslim clerica s (Lalit Mohan Tiwari) simple life is disrupted when his 12-year-old son Janu (Garrick Chaudhary) goes missing. The story then goes into a flashback to reveal the events that occurred before this unfortunate incident and what triggered the disappearance.
Fondly called Chacha, the anxious cleric goes from pillar to post looking for his loved one. During the search, he remembers Janua s fascination for Hindu mythology and Hanuman. He forbids Janu from watching the local Ram Leela, let alone participate as Hanuman in it. But Janu strikes up an unlikely friendship with a Hindu priest, who fondly feeds him prashad. Janu gorges on it. Chacha is ashamed to see his son taking to Hinduism. He wants him to respect his religion first and read the Quran instead. An obedient Janu obliges, but continues to secretly believe in the Hindu teachings a especially the Hindu funeral rites. Janua s mother plays the peacemaker between the two. However, after she gets killed in an accident, the two are forced to face their fears, simmering tension and difference in their ideals.
While the film wanders aimlessly along with its elderly protagonist initially, it takes a drastic turn in the second half. This is where the suspense surrounding Janu ends, leaving a lump in your throat. If you forgive the technical flaw a poor sound (mainly stemming from low-budget issues) and an unhurried beginning, the film manages to move you with its heartrending story and effective performances. It could have probably worked better as a short film, owing to the nature of the plot.
Also, while religion is an integral part of the story, it's the sense of loss and regret that lies at the heart of it.
Zaigham Imam' s story is much stronger than his amateur execution. Nonetheless, it deserves to be seen for its sheer thought, which is brilliant. Love transcends religion.
स्मॉल स्क्रीन पर लुटेरी दुल्हन जैसा टीआरपी में टॉप पर रहे सीरियल के राइटर जैगम इमाम ने अपने लिखे चर्चित उपन्यास दोजख इन सर्च ऑफ हेवन पर इस फिल्म को बनाया। पिछले कुछ अर्से में कई चर्चित फिल्म फेस्टिवल में इस फिल्म की जमकर चर्चा हुई। दोजख का मतलब नर्क होता है। राइटर से डायरेक्टर बने जैगम इमाम की यह फिल्म कई सिचुऐशन पर थम सी जाती है तो फिल्म का क्लाइमैक्स भी दर्शकों की बड़ी क्लास को पल्ले नहीं पडता। ऐसा लगता है कि सीमित बजट का असर इस फिल्म की मेकिंग के साथ-साथ रिलीज पर भी पडा है, वरना रिलीज से पहले इस फिल्म के अलग टाइप के सब्जेक्ट और किरदारों को लेकर दर्शकों की एक खास क्लास में इस फिल्म को हिट कर सकते थे , लेकिन ऐसा भी नहीं हुआ। बिना किसी प्रमोशन और बेहद कमजोर डिस्ट्रिब्यूशन नेटवर्क के चलते दोजख इस शुक्रवार को रिलीज भी हुई है इसका पता उस क्लास को भी यकीनन नहीं है जिनके दम पर ऐसी फिल्में बॉक्स आफिस पर कुछ टिक पाती है।
कहानी: वाराणसी के एक छोटे से गांव के एक कट्टरपंथी मौलवी (ललित मोहन तिवारी) 5 वक्त के पक्के नमाजी हैं, रोजी-रोटी के लिए एक छोटी सी दुकान खोल रखी है। मौलवी साहब का 12 साल का बेटा जान मोहम्मद उर्फ जानू (गैरिक चौधरी) है। जानू अपने घर से ज्यादा वक्त पड़ोस में रहने वाले पुजारी जी (नाजिम खान) के साथ बिताता है। इतना ही नहीं, जानू कभी रामलीला में हनुमान का किरदार निभाता है तो कभी प्रवचन सुनकर खो जाता है. जब इस बारे में मौलवी साहब को पता लगता है तो वह जानू की पिटाई भी कर देते है। इसी बीच जानू की अम्मी का देहांत हो जाता है, अम्मी को दफनाते वक्त जानू अब्बा से कहता है उसे कभी भी दफनाया ना जाए, क्योंकि कब्र के अंदर अंधेरा होता है। यहीं से कहानी ऐसे टर्निंग पॉइंट पर पहुंचती है, जहां हिंदू-मस्लिम का मुददा सब पर हावी है। ऐक्टिंग: ललित मोहन तिवारी मौलवी और नाजिम खान पुजारी के किरदार में बेहतरीन हैं, जानू के रोल में गैरिक ने गजब ऐक्टिंग की है। निर्देशन: जैगम इमाम बतौर निर्देशक प्रभावित करते हैं। कहानी के साथ उन्होंने कहीं ज्यादा छेडछाड नहीं की। हां, कम अवधि की फिल्म को भी जैगम स्टार्ट टु लास्ट ऐसी रफ्तार नहीं दे पाए, जो दर्शकों को कहानी और किरदारों के साथ पूरी तरह से बांध पाए।
क्यों देखें: अगर आपको सिंपल लीक से हटकर बनी फिल्में पसंद है तो इस फिल्म को देखा जा सकता है। चालू मसालों वाली बॉलिवुड फिल्मों के शौकीनों के लिए फिल्म में कुछ खास नहीं है।
Lost In Translation
At the stroke of dawn, a Muslim Cleric (Tiwari; resembles Frank Langella)-the ultimate symbol of strict routine and discipline- bellows out the morning namaaz into a microphone at the town Mosque. One morning, early risers are in for a heartbreaking surprise. He sheds tears of longing for his 12-year-old son, who has gone missing after his mother's passing, while struggling to croon on schedule. The speakers crackle with his agony. The Pandit (Nazim Khan) of the adjoining temple listens, and sobs silently. Janu (Chaudhary), the boy, would think nothing of being pampered by the Hindu folk. To his father's discontent, he even played Hanuman at the local Ram-Leela.
These are strong, evocative images. But writer-director and ex-journalist Zaigham Imam, who has adapted such passages from his Hindi-language novel of the same name, should have left them in ink.
The translation to screen is tragic as the old man's plight; melodramatic music drowns out their sobs, the good-natured Pandit has a pedophilic eagerness about him, and we're subjected to a non-linear narrative that demonstrates more the editor's confusion than the Maulvi's. To complicate matters further, the father's desperate search is intercut with flashbacks of Janu's previous disappearance on a solo 'business' sojourn to Banaras. An attempt to showcase Varanasi's unique religious harmony is repeatedly undone by a peculiar lack of filmmaking finesse.
Amateur foley effects, unregulated dubbing and sound design make this look like a rough cut; a single cricket-chirping ambience track is used through mornings at different locations, crowds stop buzzing as soon as they're out of frame, and bat hitting ball sounds like a head hitting a wall. Not to mention a low-budget accident, where a generic screech rings through the air while camera meets sky.
Such basic technicalities can't be ignored in favour of manipulative storytelling; even the performers look a bit perplexed about their proximity with a shaky camera crew. The climax, potentially a brave black-andwhite triumph of humanity over religion, must have looked iconic on paper. This depth, however, is dissolved by an archaic display of craft.
I suppose there's a poignant message in having a Hindu play a Maulvi, and a Muslim actor essay the role of a Pandit, but such meta attempts are best left to the confines of an elevated wooden stage.
The film is an adaptation of a book by the same name.
The film was had a minor run in the censor board when it was denied a certificate at first two screenings.
Reportedly, the film was denied a certificate for its first two screenings by the Censor Board.
The film won the Special Jury Award at the Indian International Film Festival of Queensland, 2014, Australia.
Major issue in the film is its sound dubbing and editing.
In a small town near Varanasi, a clash happens between the offering of the routine morning prayers of the Muslim cleric and his neighboring Hindu priest. The Muslim cleric is vexed with the Hindu priest but is more bothered about his twelve year old son 'Janu' who is a good friend of his rival- the Hindu Priest and pays regular visit to the temple. He has scolded and punished Janu several times and elucidated him that he may be cursed to hell if he continues this. The cleric loses his temper when he comes to know that his son has participated in the annual Hindu mythological play Ramleela and played the role of the Hindu God- Hanuman. He gets upset, punishes his son and explains him the difference between the two religions. But Janu absconds from his home. His father seeks him everywhere. He realizes that he is first a father to his son before being a cleric. But will anxious father be able to find him ever? In a flashback scene, we are also told that Janu's mother is no more, since he died in an accident. This incident affects Janu a lot. When she is buried, he tells father that if he dies, he should not be buried. His deep affection for river Ganga, and Hindus immersing the ashes of the dead in it, makes him prefer those funeral rites.
Cut to present, as the father goes looking for Janu in Varanasi, the cops inform him that a dead body of a child was found in the river. The father goes looking for it in the mortuary and is heartbroken to find out that it is Janu's. Heartbroken, the father requests a rickshawala to take him to the river. Despite of being a Muslim, he follows the Hindu funeral rites and immerses Janu's ashes in Ganga and a portion of it close to his mother's grave.