WATCH THE TRAILER/MAKING OF THE FILM HERE
First, the Recap:
The artistry of belief, the search for healing, the paths to redemption, forgiveness, and solace. In a current world fraught with so much hatred and anger, we as human beings are all in need of inward and outward peace. Whether wishing to acknowledge this or not, there is a void within all of us that needs to be filled with something beyond ourselves, something greater, something that we actually have no true control over, but can only instead give ourselves over to in order to experience that desperately needed love, grace, and tranquility. The Ganga River (the Ganges in more contemporary form) flows with might and purpose, whispering her wisdom to those who worship her, a tribute to the impact of nature, ideology, and the value of appreciating all that we’ve been blessed with. Journey on a pilgrimage of creed and creativity to honor Maa Ganga.
Next, my Mind:
Renewal of life, perfection of movement, and an expression of congruity in the seeking of all things holy and revered, there is undeniable, intensely stirring, fully engaging power of inspired, spiritually-driven proficiency that immerses you body and soul through the newest musical short film from director Swapna Maini, musical director Sai Ganesh Nagpal, and choreographer Saraswati Nagpal, forming a stunningly calm yet equally fervent finale to the most recent event associated with the 2020 ECSA: Escapist Cinema of South Asia online film festival presented by Jingo Media and sister festivals DFW SAFF and NYC SAFF, all while treasuring its world premier screening to top it off.
Taking the same beautifully orchestrated approach as the group’s previous short film effort, “Vande Mataram: A Dance Tribute“, the film is a kaleidoscope of arresting visuals, fluidity of motion through traditional Indian dance, and a deeply emotive utilization of music, vocals, and lyrical awareness that immediately grabs hold of every fiber of your being and pulls you along through magical scenery that encompasses the ever-varying ebbs and flows of India’s sacred river, at times roaring relentlessly and other times a placid place of serenity, all while showcasing its riverbanks both isolated and populous, imagery that elicits the kind of emotional reactions intended and illustrating the width and breadth of significance the river represents to the Hindu religion and those who follow it.
Then there is the consistently present dance sequences themselves, which speak volumes on their own. The wonderfully colorful costuming takes apprehends the viewer’s eye but then we go well beyond that to the sheer elegance of motion being demonstrated, with such intricacy that it almost defies belief at times. Every step, grand or small, has a wholehearted meaning, an importance to the grander whole of what is being explored thematically. The freedom of mind, soul, and spirit watching it induces is a palpable force to be reckoned with, and the ever-shifting venues the dances are performed in–the river itself, on its shores, in temples, outside cities, on boats–it only adds that much more weight to the narrative’s design, with evocative effect and resolve.
What is then striking about the film is the fact that, while yes this truly is art being presented through multi-faceted manifestations, it is something that can speak to anyone, anywhere, at any time regardless of what you personally believe. While the foundational message here is, of course, to focus on the beauty of how the Ganga is a goddess for Hindus and the magnitude of majesty it does represent as such, I still got just as much poignancy and affecting, dynamic, and tangible inspiration from it even through my faith is different. I think being able to look beyond the surface, not out of disrespect towards what is delivered, but rather to embrace it as a universal understanding that we all need this kind of uplifting, soul-reviving experience, and I hope the film can influence in this way.
Additionally, the film would not be complete without the dancers themselves–Saraswati Nagpal, Mohika Shankar, Arushi Kishore, Anya Chugh, Sia Bhutani, and Saisha Bhutani–who so deftly, magnificently, and with evident, full-on, dramatically impassioned effort bring the project’s spiritually profound core to luminous, energetic life through every single movement they take on. Not only are they in the expected synch with one another, but make it a point to observe every little nuance each brings to the greater portrait being painted through their dances, as this reviewer was transfixed by just how precise they are, which then only drives home the point mentioned earlier that it all has eloquence and substance, with no wasted steps or expressiveness to be found.
In total, “Ganga: River Eternal” is a study in visually-driven worship and adoration, a tribute not only to the holy river itself, but to the all-encompassing need this world needs reminded of to re-discover the vibrancy of existence, the renewal of heart, compassion, and connection with divine elements beyond ourselves, and perhaps most importantly, the re-establishment of happiness.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
