The existence of a infantile drawl and drawn out cutesy speech in a movie makes me cautious. It isn’t used, like in Toofaan, the place the daughter questions why her father containers, performing a violent act for validation, or like in Nayakan the place the grandson has to ask if his grandfather, a don, is an efficient man or a foul man. It can be utilized to make an grownup query their greyness from the chopping black-and-white perspective of kids. But extra usually, it’s simply an excuse to inject an ill-deserved aww.
Ek Duaa comes precipitously near that. Abeda (Esha Deol) is launched — devoted mom of two, Faiz and Duaa, docile spouse to Suleman driving a kaali-peeli taxi within the age of Uber as an ode to his father who purchased the cab, and irreverent daughter-in-law to a mumbling, complaining, creaking mother-in-law. The opening photographs seize a second within the bazaar — the namaz spilling from the minarets, the meat, the pakodas, the barber, the clocks. Out of the smoke emerges Abeda together with her daughter in tow.
It is established that she buys provisions on debt, and there isn’t sufficient cash to go across the household. Abeda is proven taking the hood of her burqa earlier than talking to the lads available in the market, and that is the final we see of this burqa, an inconsistent wardrobe selection. The daughter, Duaa, isn’t allowed to go to highschool whereas a “Beti Bachao Beti Padhao” poster creases on the wall within the background. Duaa is usually forgotten within the household conversations, as if she doesn’t exist. For Eid, her father doesn’t purchase her something.
The first stretch of the 45-minute movie is observational, immersive, bringing you into their lives, as Abeda cuts capsicum and washes the flooring, whereas Suleman will get jilted by pant-suit office-goers and ferries vegetable sellers as a substitute — outdated world patronizing outdated world. There is a languorous melancholic high quality right here that’s all of the sudden made filmic with an injection of an Eid track. A full-song sequence in a brief movie? It’s an attention-grabbing concept however the track itself, cookie-cutter with all of the Muslim aesthetics of dervishes and qawwali has a really acquainted high quality that has neither an aesthetic nor an emotional pull. Slowly, this anesthetic peek into their lives begins to tire.
It is right here that the movie morphs right into a melodrama — the place Suleman’s mom asks for one more son, tapping into the child merchandising machine that’s Abeda, juxtaposed with a violent historical past that’s all of the sudden made clear. There is the surprising twist underneath whose affect we rethink each scene we have now watched for clues we couldn’t decipher.
Written by Avinash Mukherjee, and directed by Raj Kamal Mukherjee, there may be, nonetheless, an unpolished high quality to this movie. The dubs are inconsistent, with background noise coming in everytime Abeda speaks in between. The cuts are slightly sharp, and Esha Deol’s announcing of “Alhamdullillah”, stressing each syllable as if it have been the one one has a strained high quality that makes obvious the make-believe nature of this world. The lifetime of Muslim marginalia as they’re struggling to outlive, layered with the frequent, extreme misogyny of the world creates characters who don’t know higher. Even their villainy is helpless. Ek Duaa, which might imply one prayer, or a reference to the daughter, at its finest, holds these contradictions collectively. At its worst, it lets them change into excuses for clippings of newspaper stories on feminine foeticide that shut the movie.
The Voot Select Film Festival runs from July twenty fourth. It is streaming over 15 motion pictures for 8 days, together with Neena Gupta’s anthology characteristic Shuruaat Ka Twist, Hina Khan’s Lines, Kaneez Surka’s The Shaila(s), Tannishtha Chatterjee’s Lihaaf, Esha Deol’s Ek Duaa and anthology Love within the Times of Carona.