NO TRAILER CURRENTLY AVAILABLE
First, the Recap:
Loneliness vs. relationship. There’s a depth of reasoning when it comes to finding out whether we truly long to share our life with another or remain alone, whether by design or an overwhelming hesitation causing us not to be bold and just step out to seek opportunity. Perhaps, though, there are also the times when we might not fully realize the magnitude of our desire for someone to love until something arrives to remind us. On the outskirts of Calcutta, a solitary launderer named Ram (Pankaj Tripathi) goes about his usual business, preparing a finished run of clothing to be wrapped up and picked up by its owner. Amongst the evidently more male-oriented attire he comes across a bright red dress, out of place, and subsequently a mystery to Ram as to its origin. However, in suddenly finding an inescapable connection with it, a deeply personal journey unfolds.
Next, my Mind:
Initially veiled nuance gives way to a slow burn, quietly presented, keenly abstract, fully earnest portrait of longing, searching the soul, recollecting what’s past, hanging on to what’s most cherished, and refusing to give what we’ve gained back even when factors might dictate we do so, all exhibited and entertained through this 35-minute short film from writer/director/producer Abhiroop Basu, writer Kunal Mitra, producers Aakash Ghoshal, Sushila Jain, Shireesha Kadiyala, and Madhu Singhee, executive producer Samir Sarkar, plus executive/associate producer Tushar Tyagi. Shown as an NYC Premier at the 2021 NYC New York Film Festival sponsored by Toyota USA and hosted by Festival Director/Jingo Media Founder Jitin Hingorani and Artistic Director Ambica Dev, this was another example of the more eccentric, creative realms indie film resides within.
Given it’s cornerstone premise as referred to in the synopsis above, the film’s pacing is one that defies mainstream convention and instead relies on an almost dialogue-free execution and purposeful visuals/imagery to transport us with calculated resolve and engaging aspirations, while ideally aiming to sustain our attention as well, by centering on one laundry-man’s unexpected find, the subsequent bond he creates with the random item, his objectives to care for it in admittedly stirring ways, and the travels in his mind that traverse the state of his life and that which he perhaps had once and now yearns for again. It’s the strength of reminiscence that drives attachment to even the most mundane of objects, as it is never always clear what might come along that triggers those buried thoughts and forces them to the surface again for consideration.
What I could appreciate about this film is that it wasn’t only a straight drama, offering at least a few more light-hearted instances involving the dress that’s become the target of Ram’s borderline obsessive attention. Still, most of this story is told from that more dramatically contemplative perspective as we take in and assess just what it is that Ram is experiencing through his new defacto “love”. Hinted at earlier, thematic tangents involving isolation, having faith, wishing to restore what has been lost, and facing the possibility of losing something all over again are addressed along with an undeniably moving undercurrent of affecting sympathy we develop for Ram and his heartstring-tugging plight, as it’s all so grounded and relatable in the palpable sense of need for companionship, the adoration it provides, and solace of heart, mind, and spirit it exudes. Seeing this evidently having been removed and/or void from Ram’s life for an undisclosed amount of time, it’s only logical he attaches himself to the dress as much as he does.
There’s a key moment that finally occurs that will define his dedication to everything the dress symbolizes as the film’s finale arrives, and it does leave an impression in your mind. Tripathi certainly had his acting work cut out for him through his role as Ram, the much aforementioned humble, modest man and launderer in the far reaches of Calcutta whose discovering of a red dress in his laundry items being tended to for a client arouses a state of remembrances that send him on a road to the past in his head, and a newfound reawakening of what it is to love and have someone present in his life. It’s a study in body language and facial expression-based delivery in order to bring out all the varying subtleties being illustrated, and Tripathi does this with artistry and well-honed skill as only a veteran actor of his caliber can deliver.
The only supporting appearance is made by the equally adept Ekavali Khanna as a mysterious woman who may be the one catalyst to upend Ram’s fresh, even if still remote and pining, outlook on his life. So, in total, “Laali” might not be a film for everyone, only in that outside its absolutely resonant messages about the essence of love’s hold on us, past or present, the film is not typical, fast-paced, or filled with voices to maintain your attention. It’s all about being willing to sit back and absorb what you’re witnessing and ruminate as you go in order to immerse yourself just as much into the story as the character here, which isn’t always the level of patience people have. But, as I constantly state–this IS independent cinema, which is anything but standard or routine.
Miss viewing “Laali” at either physical festival? Worry not! You can still check out the film for one more day online as it currently screens as part of Virtual SAFF 2021!
As always, this is all for your consideration and comment. Until next time, thank you for reading!
