WATCH THE FILM HERE
First, the Recap:
Contention. Dissent. Quarrel. We all have the potential to face any myriad of events on a daily basis that could place us in conflict with another human being. How often is it that the other party is a friend, co-worker, family, or that special someone whom we love that is referred to as our “better half”. Yet, what is it that we fight over, find ourselves riled up about, or otherwise dispute that would cause us to wish nothing more than to be separated once and for all from the supposed source of our pain? Is what’s being contested truly worth losing that which we’ve previously treasured for so long? Was it ever worth even a raised voice?
For the last thirty-six years, a husband (Piyush Mishra) and wife (Alka Amin) find they have reached a crossroads, and none to soon for the two of them it appears, given the aftermath of what must have been a highly heated argument, with their maid (Eshika Dey) cleaning it up. Sitting apart in their home, the two reluctantly come together in a cab, still not saying a word initially, until cell phone conversations, the ensuing interactions, and the unanticipated ranting of their cabbie (Rajkumar Kanojia) interrupts the silence. Coming to their lawyer’s (Rajendra Chawla) office, it becomes clear that events between the pair have taken their toll. Yet, after all seems hopeless, there is pause to consider, perhaps, whether reconciliation still has a chance to blossom.
Next, my Mind:
What I have always admired about older couples is the sheer fact that they have remained together for such an amazingly extended period of time and managed to become an illustration of what, in this critic’s opinion, a true marriage and binding love should be and encompass. I believe it’s this overall mentality, perhaps even expectation, that drew me that much more into this 14-minute short film effort from writer/director Prem Singh who, along with producer Shashi Chopra, producer/editor Dheeraj Jindal, and executive producer Sanjeevkumar Nair, deliver a highly potent exploration of the volatile, emotionally-charged dynamics associated with a long-standing relationship and union gone wrong while ultimately presenting the inkling of hope that all is not lost. In a modern world where, again in my humble opinion, divorce has been made far too easy to obtain, the narrative here doesn’t shy away at showcasing the level of disconnect these two individuals have found themselves facing, but does it in a way where the viewer’s introduction to the circumstances is more via conjecture and visual cues rather than all-out mayhem or overtly melodramatic events.
Rather, we simply, tangibly feel the air of tension that exists between them, more so once they do come together again on screen and it becomes even more blatantly evident all is not well. By the time the story delves into the separate phone calls the two get from their son and daughter between a tumultuous cab ride to the final showdown and explosive outpouring of built-up, pent-up anger, frustration, and exasperation, the events would seem to indicate being away from each other permanently would be the only answer. Yet, in the midst of it all, specific instances also come about that make the pair reassess and revisit in their own minds the actual circumstances and reasons for their current attempt to be rid of each other and it leads to a stirring finale that really puts a whole different, refreshing twist on the proceedings to superb effect and, frankly, a much more positive ending to what begins as a story founded on bitterness and resentment. Visually the film is, as expected from the Royal Stag/Stag Barrel Select Large Short Films group, crisp and well-shot, smoothly paced, and as indicated above relies on the highly effective utilization of both non-speaking and speaking sequences to communicate the grander scope of the narrative’s intent. Additionally, the beautifully emotive music score from Ambar Das and Sanjoy Dazz closes the film and the end credits out wonderfully and with such apropos and affecting impact.
Veteran actors can always find that means to impress via their long-standing talent but also due to the wealth of overall experience they bring to the table, and here, there is no exception to that rule, first with Mishra as the currently bad-tempered, world-weary, crotchety husband, whom we can tell by his facial expressions alone has had enough of the apparently boiled-over strife that exists between he and his wife. Purposefully setting himself apart in another side of the couple’s home, he only chooses to engage in any form with his spouse once he is notified their ride to the lawyer’s office has arrived. Even then, his speechless attempts to at least speak quickly with her is met with equally silent but loudly obvious contempt and disregard that only makes his frustrations grow. Even as things don’t improve while in the cab, even as one of their children attempts to call and offer words of advice as to why he shouldn’t pursue the path he’s on, he only finds ways to deflect those pleas in order to end up blowing up again as the pair let it all loose in the cab and further in the lawyer’s presence. But, no matter the frustrations he exhibits, the words from the children and their lawyer sink in, and cause a hesitation in a manner which he least expects, much less to the end it brings him to. It’s one of those performances that makes us appreciate actors AS actors, making us invest in the character, feeling something towards and for them, and ideally causing us to empathize. Misra achieves this magnificently in such an abbreviated runtime the film offers, and it is the mark of true acting skills executed with straightforward poise and dedicated intensity.
While Amin’s total acting credits may not number the same as Mishra’s, make no mistake that her body of work is no less impressive and filled with the diversity of roles that a well-received actor should strive for, and here she excels as the strong-willed, steadfastly adamant, and yet utterly vulnerable wife whose own anxieties and vexation over the couple’s initial unseen fight is likewise clear as she stews in another part of the home, away from her attitude’s cause. Even once she too exists this self-imposed “exile” and comes back into contact with her husband, it is a moment filled with the same amount of disdain and rage as when they were arguing, but all in unspoken body language and actions that certainly show she has no interest in talking or being with him at the time. Continuing to ignore him, the cab ride is a more than difficult series of unfolding extensions of their conflict at home, both blatantly and in the conversation she has with her son who also tries to convince her not to take the course she and his Dad are. Tempers flare in the cab and then spill into their lawyer’s office, all while further calls from their children only add more pressure to an already heated mix. Yet, even as she starts to realize how much both she and her ornery husband only want what’s best for the children’s successes, the realization strikes about seeking out their own sense of peace and rest, and it melds with what her husband begins to experience and initiates and unanticipated time of awakening. It’s a heartfelt, moving performance, raw and candid in its nature, deftly suiting the scenario in play, Amin masterfully executing the role with unmitigated grace.
Supporting turns arrive throughout the film from Eshika Dey as the couple’s house maid who has to not only clean up in the aftermath of the arguments we didn’t see, but has to likewise deal with the awkwardness of the entire situation, Rajkumar Kanojia as the cabbie who is not only entreated to a taste of the couple’s discord, but exhibits his own baggage that could be a first catalyst for our antagonists to consider what they’re doing in a different light, and Rajendra Chawla as the couple’s lawyer who hears more than an earful between the two yet truly aims to be a voice of calm and logical decision-making for the pair. On total, with its statements about the institution of marriage, the things that come between us, the seeming futility of trying to work things out when in a flustered state, and the little things that can reunite us in heart, mind, and spirit, “Katran” is a excellently executed short film that bears a relevant and necessary message in a time when love standing strong and showing its ability to conquer all is so desperately needed and hopefully will be embraced once again.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
