Movie Review: A Billion Colour Story

a billion colour story

I was born during the post Babri Masjid Hindu-Muslim riots in Thane. We were among the few Hindu families who were living in the Muslim populated area of the city. I was brought up in a secular atmosphere and even today I live my life with the same thought of secularism and unity. One of my best friends is a Muslim and another is from a Hindu orthodox family but I share the same bond of love and faith with both of them. I believe I am a practical person in my day to day life but when it comes to my country and it’s religious tolerance, I transform into an idealistic person.

That’s why when I saw ‘A Billion Colour Story’ (2016, Director & Writer: Padmakumar Narasimhamurthy) yesterday, I was able to relate to every single thought of the movie. The movie tells a story of a modern nuclear family. Hari Aziz, 12, is the son of a Hindu mother and Muslim father. His filmmaker parents moved from Australia to India to experience and live in the poetry of India they were brought up in. They are fighting to survive and produce a film amidst the chaos of this non tolerant country. Hari’s mother soon realizes that India is no more poetic and it never will be. But her husband has faith in the nation with diverse culture.

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The movie talks about intolerance in terms of religion, relationships, faith, knowledge, racism and suspicion. The lethargic and corrupt stand of law and order in support of this intolerance make us cringe. Hari’s father’s blind trust in the system is patriotic at the same time it makes him look foolish. Before the climax, his idealism, his believes turn him into a person without purpose. His lost eyes make the audiences pity him. It makes us angry as the only good soul lost his hope because few people went rogue.

One more thing I specifically noticed in the film is the generation gap. For my generation,(born in the 90’s) the concept of generation gap is of a decade. But for those who are born in the new millennium, every passing year is a generation gap. 12 year old Hari getting into a relationship, taking help of Google instead of his parents for answers, his searching what happened in Godhra on his smartphone or talking to his father about Jan Dhan Yojana made me drop my jaw. In a conversation with his girlfriend Sofia he says, “why go to school when we can learn everything on internet?”, this made me rethink the debate on curriculum and schooling system in our country from a very different perspective. His generation is more open to social media and internet, which has shaped his personality immensely.

For a long time, my mother was asking me to go to a foreign university to pursue higher education. But I was never interested as I don’t want to leave my country. Finally I have said yes and now applying to a couple of foreign universities. But I agreed to her on one condition, that no matter what I will come back in a couple of years. I want to live in the country in which I was born and brought up. No matter how corrupt, intolerant or violent it is, I am an idealistic nationalist. I believe in the terms of unity, secularism and equality on which our constitution was built.

The climax of the movie (which I can’t reveal as I don’t want to give away spoilers) made me believe that we create the intolerance and only we can get rid of it. It will take a lot of time, energy, resources and lives to achieve the goal. But if we don’t want our country to freeze in one colour, one thought and one idea, we need to come back, be innovative, trust in our judiciary and executive to bring back the poetry India once had.

Today, in my personal life as I am fighting a man who abused my mother and me on facebook, we are getting the right support from the Police and Judiciary. A large online community is supporting us. When we started the fight, I was an idealistic citizen who was told that this is not going to be easy and I may loose my idealistic approach soon. But even after two weeks I stand strong on my beliefs and known in my heart that we’ll get the rightful justice.

If you are losing your faith in this country, to its system then I would suggest you to watch this movie before giving into the mechanic intolerant crowd.

Watch the trailer here:

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Movie Review: Blue Jasmine

blue jasmine

When I saw Blue Jasmine by Woody Allen, it reminded me of two things. One: the famous ‘The Story of Stuff’ video and two: South Indian movies.

‘The Story of Stuff’ tells us that how much greedy and self absorbed we are.  We don’t think of anyone else before us. We are selfish enough to see someone getting hurt because of us and half of the time we are the cause behind the pain. In the movie Blue Jasmine, Jasmine was selfish enough to call the police and tell them the truth about her husband’s works which eventually lead to his death, her bankruptcy, her sister’s engagement broke and her step son hatred towards her. I have seen many south Indian movies. They all have multi-story screenplay. The stories are crafted in such way that you feel like you are watching at least 3-4 movies in one ticket. The biding elements to these stories are the leading characters of the film. That’s what I felt with Blue Jasmine. In the movie, Jasmine was the binding element of various sub-tracts.

Woody Allen is a genius. Just like his other movies, he has done his best work. The script is crisp and engaging. The characters are strong and very clear. Every character carries their own emotion and attitude. Then be it Jasmine, her sister or the pervert dentist for whom Jasmine works as a receptionist. He has given each character their individual threats. Here I would like to talk about Jasmine’s habit of talking to herself. She is constantly in fight with herself. She is full of guilt and selfishness. She knows she is doing wrong but her nature doesn’t allow her accept. Eventually she starts talking to herself. This clearly shows her unstable nature and psychological disorder.

The movie shows that how difficult it is to just move on. Jasmine has to move on from her failed marriage, dead husband, and complicated relationship with her sister and her dear city New York. Woody Allen touches the heart of the audiences with Jasmine’s emotional journey of moving on. The character of Jasmine has numerous shades. Jasmine’s increasingly desperate vocal, physical and emotional presence on the screen keeps you mesmerized. She has a habit of constant drinking which again highlight her low confidence. Her cracked smile, awkward panic in her eyes makes her an exhausting character to be with, to watch and, presumably, to play. But Cate Blanchett worked her way out and grabbed an Academy Award for her performance.

Cate Blanchet
Cate Blanchett in Blue Jasmine

Woody Allen’s movies have this peculiar comedy touch in them. But here the tragedy is far away from the comic senses. Though tragedy can be shown in a spoofed blanket of comedy but Woody Allen choose to go straight and it works right.

The tragedy element of the film makes me to focus on one character i.e. Augie. He is the fiance of Jasmine’s sister Ginger. He has a lot of money (got by luck in lottery) and he plans to invest it in his dreams. But the money is washed off by Jasmine’s fraudster husband. He never wanted to invest the money but he did so because of Jasmine. And now he blames her for his broken dreams. At the end, he confronts Jasmine in front of her fiance which leads to her break up. Now many may think that he is a douche bag but I strongly think he was absolutely right at his place. He is an individual, who got money by chance, which he lost because of a person’s mistake and he is furious with that person. Woody Allen doesn’t make him any villain. He justifies him in a very possible way. And he becomes the tragedy King of the film.

The film is very ahead of its time. Mainly because it highlights the up growing class issue. Jasmine lives a very high class life in New York with her pricey bags, shoes and dresses. She is rich enough to provide an expensive hotel stay for her sister along with a car and a chauffeur. But she soon ends up broke as her fraudster husband commits suicide in jail. Here two things can be taken in account. One: she pays for her sister because she doesn’t want to spend her time with her. Because she doesn’t belong to her ‘class’. But when she goes bankrupt the first person she goes to is her sister. The irony behind this thought is greater than anything.  Two: though she is broke, Jasmine travels through First class on her flight to her sister’s place. Her sister disapproves this but Jasmine doesn’t care. Even being broke doesn’t take the ‘class’ away from her mindset. Later she works at a dentist but soon she gets into a relationship with a wealthy man where she finds closure. It’s not the man; it’s the money which gives her the closure. And Woody Allen proves again that he is the Boss!

woody allen
Woody Allen

Jasmine is also shown on the verge of nervous breakdown. Her sister tries to help her timely but she fells for it. Woody has crafted the draft around the theme of self-delusion. Jasmine’s self-delusion soon takes her to disintegrate. Though she has a hint that her lover might be cheating on her, she keeps a blind eye on it because she can see the perks of being his wife in her high society. Later in the story she lies to her fiance about her dead husband because she fears and the lie takes her down. This is a typical class-self struggle.

Woody has written and directed many female characters but Jasmine surely stands apart from all of them. Throughout the film we hold different emotions for her but at the end we feel sorry for her and pity her. She is a damsel in distress. She ends up broke, homeless and insane. Her instability can be seen through her tiger eyes dropping mascara or the cream Chanel jacket she wears too often, which connects her to the lavish life she once had and now desires for. She can’t get away from this but clinging to the broken pieces of her past life gives her false hope and negative pleasures.

 

PC.: Google

The Story of Stuff:

Movie Review: Dear Dad

I was introduced to the concept of romantic idealism when I was in college. I learnt it in political context but later realized that we have embodied this concept in our daily lives including our cinema.  The directors and writers sometimes give it the name of ‘cinematic liberty’. This ‘overrated’ liberty is many times difficult to understand and sometimes ruins the good script. In my opinion, the director-writer (Tanuj Bharmar) of Dear Dad have tried to solve a real problem using their thoughts on romantic idealism in the name of cinematic liberty.

The movie tells us the story of father (Nitin Swaminathan, 45, played by Arvind Swamy) – son (Shivam Swaminathan, 14, played by Himanshu Sharma) and their complicated relationship. Every ideal family in the world is not so ideal. Everyone has a crack or a past. In this film, the father has both. The father is gay and now wants a divorce from his decade long marriage. The son is left devastated after learning this truth about his father. It took a lot of years and courage for the father to come out to his family and son, who idealizes him. The father doesn’t expect from his son to accept him immediately for who he is but to understand why he kept his real emotions aloof.

The father-son duo battle over the facts, emotions and the decision of divorce which will break their happy family. These scenes are very crisp and designed very beautifully. Though the movie has it’s own slow pace, it successfully keeps you engaged. The dialogues are straight, small sentences and to the point. The picture perfect location for not so perfect family bonding is a complimentary treat. The director and cinematographer keeps the movie fresh. The actors surely pour their emotions out. But the movie lacks (in the script department) in it’s second half, where the above  mentioned romantic idealism takes over.

After a break of few months (I guess 5-6 months) the Tanuj Bharmar brings back the father-son duo. This time the son has accepted his father for who he is, his parent’s divorce and to some extent the fact that he soon might have a stepfather (or stepfathers). This is what made me question the movie. A teenager boy doesn’t come over the fact of his parents divorce and his father’s sexuality in a few months. And considering the drama in the first half, its highly difficult to understand his cool, calm and happy buddy attitude towards his father. It took me nearly a decade to understand and comprehend my parent’s divorce and seeing the same thing happening on screen (with a twist of sexuality) in few months was just pure entertainment for me. It pains me that a movie started with such an exclusive topic, lost its core to the romantic idealism.  The ‘acceptance’ by the son is a practical decision which in my opinion, a difficult one to make for a teenager.

The movie handles the subject of ‘coming out of the closet’ like no one else has ever done in Bollywood. Even after the not so expected rainbow and unicorn climax, I will still recommend everyone to watch this movie. Watch it for its crisp dialogues, for the characters who are true to themselves, for the courage and acceptance. And most importantly watch to learn that it doesn’t matter what the world thinks about us; what matters is what you and your loved ones think about yourself.

Dear Dad Teaser:

Dear Dad Trailer:

The Book Thief 

There are two sides to every coin. When Adolf Hitler took charge in World War 2, he had his own reasons to fight the jews and so did the Jews had their own reasons to hate Hitler. But in this tug of war, it was the innocent children who were getting hurt the most. The war, the hatred, the pseudo nationalism made them shred their innocense and their little hearts were left filled with hatred and darkness. Many were confused about what was happening, many pretended to know, many traied to escape and many failed before their attempts. We have read many books and seen many films about what Hitler and his troops did to the Jews. It was one of the most terrifying scenes in the history of the world. But what about the German voices? The German children were brainwashed and lost their childhood the same way the Jew children did. The German children may not have been a part of the concentration camps but the war surely left huge impacts on their tiny innocent souls.

The story of the other side, the German side of suffering, was portrayed in The Book Thief. The film is based on a book by the same name written by Markus Zusak. Unfortunately I didn’t get a chance to read the book, but I saw the equally (I believe) powerful movie.

The movie is narrated by a voice of death. It tells us about the little girl who in the beginning can’t read but with the help of her adoptive father learns to read and write profoundly. The family is helping a Jew boy by giving him shelter in their basement. The girl steals the books from the mayor’s house (she justifies it by saying that she is ‘borrowing’) and reads them to that sick Jew boy.

The characters of children are written with great admiration. You feel sorry for them, pity for them, you get angry as we see them enjoying the news of war, we can’t understand why they are behaving so devilishly and most importantly we keep wishing a happy ending for them.

We feel the pain of the mother of 4 children as she kisses good bye to her husband and sends him to fight a war knowing that she might never see him again. We feel extreme anger in our hearts as young soldiers make fun of an old man who was conscripted. We feel our heart skipping beats as death suck the life out of people sleeping soundly in their beds and from children trying to say I love you.

I won’t say that the movie ends with a happy ending, it takes away one last soul. As the death says nothing is forever and forever is a small word in front of death. We humans are haunted by death from the moment we are born. But in this movie I got a chance to witness the death haunted by humans.

I strongly recommend everyone to watch this movie to know the other side, to know what death thinks and to feel the emotions of the children who lost their innocence.

Generation Gap of a Father

Yesterday I was watching Mohabbatein (with a voice in my head saying Aditya Chopra ruined Dead Poets Society) and suddenly started analyzing Bachchan’s character. It also reminded me of Piku and I started comparing Bhashkor Banerjee and Narayan Shankar.

Mohabbatein was released in 2000 and Piku was released in 2015. Mohabbatein is a mushy mushy fairy tale romance and Piku is comic family drama. Both movies have their own set of philosophies and very different perspectives to look at life. Plot, genre, music, locations are totally different in these movies. There is nothing common in them except Amitabh Bachchan portraying a ‘father of a young woman’.

In both the movies, Bachchan portrays strong, possessive, pain in the ass yet a loving father. Both fathers love their daughters but fail to understand her. They take her for granted and like many Indian men, they consider woman as their property. So they make decisions for her without her consent.

In Mohabbatein it was easier to hate Bachchan’s fatherly figure as his character didn’t had many facades. He was a strict father who was against his daughter falling in love. So to judge and hate Bachchan in Mohabbatein was easier. But in Piku it was way too complicated. Bachchan’s Bhashkor Banerjee had his reasons to behave in a particular way and those were made crystal clear by writer and Bachchan himself. That’s why instead of hating him, audiences felt mixed emotions of pity, sorrow and sympathy. In Mohabbatein audience put him in a negative box without even understanding his character or without giving him a second chance to hear his story. But in Piku Bachchan kept attracting audiences towards him, telling them about his e’motions’, thus giving them multiple chances to understand his character.

Death is another common factor in both movies. In Mohabbatein, Bachchan’s daughter dies, leaving him alone in agony, full of guilt that he failed as a father. In Piku, Bachchan, the father, dies leaving his daughter alone but with an assurance that he lived his life to the fullest and now she doesn’t have to live with an agony or guilt that she failed to perform her duties as a daughter. Bachchan has dealt beautifully with both deaths in respective movies.

The main factor of comparison in these movies is the maturity of the characters. Mohabbatein was a table turner for Bachchan as he left his decades long ‘hero’ image, was trying to handle the bankruptcy situation and finally got a more mature role suitable for his age and experience. That’s why in Mohabbatein, sometimes he looks like he is trying very hard to give that mature feel to his character by giving strong pauses, showering deadly looks by turning his face to a 300 degree angle, his red eyes and sudo pride. But in Piku he comes natural and effortless. There is a gap of 15 years in both the movies, which obviously gave Bachchan the time and experience he needed to do such mature roles. That’s why it becomes easier to accept Bhaskor Banerjee but way too difficult to accept Shankar Narayan with open arms.

Amitabh Bachchan is indeed a versatile actor. But portraying those fathers with a gap of 15 years shows us how much he has grown as an actor in the so called second innings of his life. By noting the differences in these two roles he has proven that there are no boundaries to learn, experiment and experience. In the future, if Bachchan portrays another father on screen, (irrespective of the genre) I believe that it will be even more mature than his role in Piku.

P.C: Internet

Experience Vincent Van Gogh in Cinema and VR

Today I had the pleasure of knowing Vincent Van Gogh’s story on silver screen, roaming through Van Gogh’s painting and experience his characters and colours from a distance of a blink that too under one roof.

Yes you read it right. The ‘Van Gogh Art in Cinema and VR’ gave me such an incredible opportunity. The screening and VR session was organized by the Enghliten VR team at Bombay Art Society, Bandra.

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Vincent Van Gogh

The movie:

Lust of Life (1956) directed by Vincent Minnelli was screened at the event. The movie tells the life story of Van Gogh. His madness, his loneliness, his obsession with golden yellow, his travels, his friends and family. After watching the movie, I strongly felt that to make some insane work you have to be a little insane.

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The VR:

I just don’t have words to explain how I felt (and still having the same feeling) after watching Van Gogh’s finest work in VR. I literally walked through the rooms of his painting, felt his subjects moving around me (thanks to the 3D effect in VR), my ears felt the tunes Van Gogh’s musicians were playing in that painting. We see in many movies that a real life character goes into a painting and experience the adventures within the wooden frame on that canvas. This was exactly the same.

I have experienced the VR technology twice before but today it was a totally new experience.

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The Starry Night
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The Night Cafe

The Enlighten team is having some more VR session in coming week. I am giving the Facebook link to the event.

https://www.facebook.com/events/548143168722457/?notif_t=plan_reminder&notif_id=1484915373784765

From Geet to Shaira…

Jab We Met released in 2007. At that time I was a 14 year old teenager preparing for my board exams. When I saw the movie, the female lead Geet (played by Kareena Kapoor) became my role model. I wanted to be like her, rather I (and other girls of my age) started thinking that there is a Geet inside me. I got inspired to make my own decisions; I started being bubbly, wearing colourful clothes and most importantly tried to make my own decisions. I couldn’t become Geet, but I tried. Geet soon became a fairy tale to me which doesn’t exist in real life. Many Adityas’ came by assuring me that they will be there no matter how crazy I behave but no one stayed. I realised that Geet is better as a movie character, she won’t survive the real world of break ups, melodramas, unemployment, backstabbing by bffs, fights, affairs, drugs, addictions, politics, marriage proposals, race of being perfect, pimples, DIY hairstyle videos, watching series after series and this list never ends. In last 9 years I grew up (physically, emotionally, psychologically, financially and socially) but Geet didn’t. I don’t know what happened with Geet in last 9 years but I know that she is not my role model anymore. I don’t want to be a person whose favorite sport is life and who thinks that only she will suffer if she makes a wrong decision. I don’t need parents who will cry over my absence and I surely don’t need an Aditya to take me out of my depression. So I was desperately waiting for Bollywood to give me my new role model and today, I saw her.

Shaira (Vaani Kapoor) from Befikre is who I am (currently). She is employed, works and earns well to afford an apartment in Paris, doesn’t shy away from being a waitress in her parent’s restaurant, she is highly confident, straight forward, she knows what she is doing and if she doesn’t, she accepts it. She doesn’t give up after her break up. When she is depressed, she handles it with books and her parents. At the same time Shaira is so many things I cannot be! She doesn’t cry her heart out after break up, she understand the thin line between having a person as your boyfriend and a boy-friend. She is extremely comfortable with her short clothes, small boobs and tiny butt (in other Bollywood movies heroines are needed to have bigger boobs and butts but thin waists with deeper cleavage) (please don’t take this point in negative or vulgar or in degrading tone…). She dances well and can be a perfect runaway bride. Shaira has the confidence and guts to accept and propose various dares no matter how stupid they are. Shaira doesn’t make sex an issue; rather she believes in it and belongs to the societal background who doesn’t judge her for having many boyfriends. She has parents who trust her judgement, decisions and accept her as she is and never try to burden her with their hopes and dreams.

The woman I am becoming today needs a role model as confident; care free; straight forward and practical as Shaira. I am turning into a person who is leading her life on different tracks, who has many goals and passions, who has to think about the longer run in 360 degrees. I can’t be like Geet whose life stops after a break up. I can’t let depression of one track affect the other tracks of my life. I don’t need to be bubbly, I want to be happy and content. I don’t need to wear colourful clothes and dark nail paint; even a coloured hair string or a colourful scarf around my neck is enough for me. I don’t need an Aditya; I have my family and friends and most importantly myself. I am not that foolish like Geet who doesn’t know the real ‘hotel descent’ situation but I can be that crazy to randomly jump in a lake. I am not saying that Geet is wrong and Shaira is right. But right now Geet is past and Shaira is my present.

Image Source: Internet

जर आणि तर

वर्तमानात जेव्हा आपल्यासोबत काही चांगलं किंवा वाईट घडतं तेव्हा आपण नेहमी विचार करतो ‘तेव्हा हे झाले असते तर आज हे झालं असतं…’ ‘जर तेव्हा तस केलं असतं आज हि वेळ आली नसती’… पण भूतकाळात जाऊन गोष्टी बदलणं तितकं सोप्पं नाही. Harry Potterचं time turner हि नाहीये आपल्याकडे नाहीतर सहज भूतकाळात जाऊन आपल्याला हव्या त्या गोष्टी बदलता आल्या असत्या.

Mumbai Film Festival (MAMI) निमित्त ‘जर आणि तर’ ह्या मुद्द्यांवर प्रकर्षाने बोलणारे दोन सिनेमे बघण्यात आले. Hounds Of Love (देश: ऑस्ट्रेलिया; दिग्दर्शक: बेन यंग; २०१६) आणि The Unknown Girl (देश: बेल्जियम-फ्रान्स; दिग्दर्शक: Jean-Pierre DardenneLuc Dardenne; २०१६). दोन्ही चित्रपटांमध्ये मध्यवर्ती भूमिका ह्या स्त्रीच्या आहेत. दोघी पूर्ण चित्रपटात हाच विचार करत असतात कि जर मी तेव्हा तसं केलं असतं तर आत्ता जे घडत आहे ते घडलं नसतं.

Hounds Of Love हि एका teenager मुलीची गोष्ट आहे. आई वडिलांनी घटस्फोट घेतल्यानंतर ती त्यांच्यावर, खासकरून आईवर चिडली आहे. आता आईसोबत राहत असताना ती आईला सतत हुडकावून लावत असते आणि तिने सांगितलेली कुठलीही गोष्ट ऐकत नाही. एका रात्री आईने परवानगी दिलेली नसताना देखील ती एका पार्टीला जाण्यासाठी घरातून हळूच पळून जाते. त्या रात्री एक जोडपं तिचं अपहरण करतं. ते तिला त्यांच्या घरात बांधून ठेवतात, मारतात, छळतात, तिच्यावर बलात्कार होतो. तेव्हा ती सतत हाच विचार करते कि आईचं ऐकलं असतं तर हि वेळ आली नसती. हीच गोष्ट तिचं अपहरण केलेली बाईपण तिला दोन वेळा ऐकवते. आता तिला तिची चूक समजली आहे पण वेळ निघून गेलेली आहे. ज्या आईपासून लांब जाण्याचा ती प्रयत्न करत होती, जिच्याशी ती सतत भांडत होती, जिची सोबत तिला जाचक वाटत होती, आता तिच्याच भेटीची ओढ तिला लागली आहे. ती तिच्या आईला परत भेटेल का ह्या प्रश्नापेक्षा माझं मन चित्रपटातील ‘जर-तर’च्या प्रश्नावर जास्त विचार करत होतं.

दुसरा चित्रपट म्हणजे The Unknown Girl. ह्या फ्रेंच चित्रपटाच्या सुरुवातीला आपलं एक छोटं क्लिनिक चालवणारी डॉक्टर आपल्याकडील शिकाऊ विद्यार्थी डॉक्टरला भावना बाजूला ठेवून practically काम करण्याचा सल्ला देते. तेव्हा तिच्या क्लिनिकचं दार वाजतं पण क्लिनिक बंद होऊन एक तास झाला आता दार उघडायची गरज नाही असा ‘practical’ सल्ला तिच्या विद्यार्थ्याला देत ती दारावर आलेल्या व्यक्तीकडे दुर्लक्ष करते. दुसर्या दिवशी दार वाजवणारी व्यक्ती एक तरुण मुलगी होती आणि तिचा खून झाला असल्याचे तिला समजते. डॉक्टरच्या मनात प्रचंड गिल्ट येतो. तिने जर दार उघडलं असतं तर कदाचित ती मुलगी जिवंत राहिली असती. ती मुलगी मेली तेव्हा तिच्या शरीरावरून तिची ओळख पटेल असं काहीच मिळालं नाही म्हणून पोलीस तिला ‘the unknown girl’ असं संबोधू लागतात. जर तिच्या कुटुंबियांचा पत्ता मिळाला नाही तर तिला ‘the unknown girl’ म्हणूनच पुरण्यात येईल हा विचार त्या डॉक्टरच्या मनात घोळू लागतो. आपल्या गिल्टमुळे ती त्या मुलीचं नाव आणि कुटुंबियांची माहिती मिळवण्याचा प्रयत्न करते. त्या मुलीचे अंत्यसंस्कार नीट व्हावे ह्यासाठी तिची धडपड. ती त्या मुलीच्या खुन्याला शोधात नाहीये. ती त्या लोकांना शोधात आहे जे त्या रात्री तिच्यासोबत होते. त्या लोकांकडून ती तिचं नाव, पत्ता आणि कुटुंबियांची माहिती मिळवण्याचा प्रयत्न करत आहे. तिचा हा शोध सुरु असताना क्षणोक्षणी तिला ‘जर मी दार उघडलं असतं तर…’ हा विचार सतावत राहतो. डॉक्टरला शेवटी खुनी समजतो आणि त्या मुलीचं खरं नाव देखील. पण तिला त्या मुलीचा खुनी कोण हे समजल्यापेक्षा त्या मुलीचं खरं नाव समजल्यावर जास्त समाधान मिळते.

दोन्ही चित्रपटांचे शेवट हे अनपेक्षित नाहीत. चित्रपट बघताना आपल्याला माहित असतं कि शेवट काय होणार आहे पण तो कसा होणार आहे ह्याचा पत्ता दिग्दर्शक आणि लेखक लागू देत नाहीत. दोघी नायिका संपूर्ण चित्रपटात आपल्या ‘जर-तर’ च्या मुद्द्यावर विचार करत संघर्ष करत राहतात. त्यांना शेवटी हवं ते मिळतं पण ते मिळवण्यासाठी दोघींना बरंच काही गमवावं देखील लागतं, मानसिक आणि शारिरीक त्रासातून जावं लागतं. आपण आपल्या आयुष्यात ज्याप्रमाणे ‘जर-तर’च्या गोष्टी करतो आणि स्वत:चंच डोकं पोखरून घेतो तसंच त्या दोघीही करतात. प्रत्यक्ष आपल्याला आयुष्यात आपल्या निर्णयांचे चांगले-वाईट प्रसंगी टोकाचे वाईट परिणाम भोगावे लागतात तसे चित्रपटात दोघींनी भोगले आहेत. दोन्ही चित्रपटांचे लेखक, दिग्दर्शक, भाषा पूर्ण वेगवेगळे असले तरी माझ्यामते ते एक common संदेश देतात: कुठलाही निर्णय मग तो छोटा असो वा मोठा, पूर्ण विचार करून घ्या;. कुणी सल्ला देत असेल तर शांत डोक्याने ऐकून घ्या; कुणी मदतीसाठी हाक मारली तर आवर्जून मदत करा. कारण भूतकाळात जाऊन गोष्टी बदलता येतील असा time turner फक्त परीकथांमध्ये असतो. खर्या आयुष्यात आपल्याला आपण घेतलेल्या निर्णयांचे ओझे खांद्यावर घेऊनच जावे लागते. There is no turning back.

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