Brilliant To The Core, Homebound Is An Encore

Starring: Ishaan Khatter, Vishal Jethwa and Janhvi Kapoor,

Direction: Neeraj Ghywam

Jago Ghirak Jago. Rush to the theatres. An opportunity like this comes but rarely. Do not be found napping when opportunity knocks — albeit quietly. If ever we had a decent chance at the Oscars, this is it. The structural infirmity of our cinema, propped up by the unhygienic, larger-than-life star system, is in complete variance with the subtle, stretching tale of two friends. Bollywood has celebrated the happy “bro story” of friendship — ‘Sangam’, ‘Dosti’, ‘Dostana’, ‘Namak Haraam’... the list is star-studded and endless. However, ‘Homebound’ is a study in contrast — the story of two simple friends from the slums, brilliantly portrayed, nuanced, and lifelike. Credited to be inspired by Basharat Peer’s article in ‘The New York Times’, titled ‘Taking Amrit Home’, Neeraj Ghaywan is out there appealing to the remnants of the immortal fabric, while lost in the din and dust of our cinema. He breaks the national habit of blurring vision in the synthesis of cinema.

Neeraj boldly brings ‘Garam Hawa’ back into our emotional space. He gives it a non-patriotic mix with ‘Article 15’ and ‘Bheed’, interestingly keeping the story crisp and never exaggerated — human and humane. There are multiple boxes that Neeraj ticks effortlessly — social relevance, emotive pride, emotional appeal, raw sensitivity, and technical finesse in editing and cinematography, all while constantly engaging the viewer at a deeply human level. There isn’t a single moment in the 120-minute run-time when the actors aren’t pulling at your heartstrings. In fact, Ghaywan says: “If you have tears, prepare to shed them.”

Mohammed Shoaib Ali (Ishaan Khatter) and Chandan Kumar (Vishal Jethwa) are part of a two-point joint spirit who apply for the post of police constable.

Even their journey to take the examination is so cumbersome that one asks — are they out to write an exam or fight a war? The police recruitment board is playing with the dreams and aspirations of millions. Typical bureaucratic indifference wreaks havoc on those dreams, leaving aspirants at the periphery of hopelessness, consumed completely by divisions of caste, religion, and class.

Chandan and Shoaib endure it all, and even within their limited space, they make choices they come to regret. As the recruitment procedure extends endlessly, Shoaib becomes a peon, while Chandan joins a college, inspired by his friend Sudha Bharati (Janhvi Kapoor). While Sudha is unafraid to state her social status and empathise with co-caste member Chandan, he refuses to even legitimately claim reservation. He fears that if his caste is known, it would reduce him to menial jobs even if he becomes a police constable. A huge, seemingly insurmountable wall creeps between Shoaib and Chandan. They walk their respective lives independently for a while.

At half-time, your heart is heavy — yet there is hope. The friends return to their camaraderie. They both end up in Surat. There is a scene where Shoaib breaks down and is consoled by Chandan — this could go down as one of the greatest scenes of friendship in the annals of Indian cinema. At one level, it is reminiscent of the angry Bachchan walking in to save Rajesh Khanna in ‘Namak Haraam’. On the other, it is a study in contrast, displaying absolute human vulnerability and the need for support from a friend.

The post-interval narrative deals with labour in Surat, like anywhere else in India, being affected by Covid-19. First, the convenient societal isolation of migrant labour, then their mass migration, is captured with graphic sensitivity. It is here that cinematographer Prateek Shah gives us moments as poignant as the story itself — as visually poetic as Sunil Burkar’s cinematography in ‘Jugnu’.

Neeraj, like Anubhav Sinha, is willing to walk the journey even if it has to be visibly fatal. He does his own screenplay and teams up with Varun Grover and Sreedhar Dubey on the dialogues, crafting an unparalleled human saga that unfolds before your eyes. The editing by Nitin (‘Bheed’) and the cinematography by Prateek Shah are of a very high standard.

In the cast, Shalini Vatsal, Yogendra Vikram Singh, Pankaj Dubey, Dhadhhi Pandey, and Sudeepa Saxena are all more than just proper characters — they are true flesh and blood. Shalini Vatsal is of Shabana standard in the final strokes of the film. Janhvi Kapoor has already enriched her filmography with mature choices; here, she matches that choice with an equally compelling performance. It is difficult, if necessary, to choose between Ishaan Khatter and Vishal. They don’t compete — they complement each other. If ever actors could translate the essence of “Bro Code” as two bodies, one soul — it is Ishaan and Vishal. Every single moment on screen is a reflection of their mind-boggling talent. Their performances, like the film itself, are unparalleled.