Joram (2023) Review!!

Synopsis – It follows a father who is on the run with his little baby girl to escape the ghosts of his past and the forces that want him dead.

My Take – While survival thrillers follow a particular template, Devashish Makhija‘s fourth directorial venture works more as a compelling journey.

Unlike its counterparts, his film doesn’t follow the predictable path of escalating tension, instead it embraces an agonizing tone that sets it apart from the mainstream. All the while as it weaves together action, a lawless atmosphere, and dry locations with undeniable vigor and attention to detail.

These unique blend of elements ends up creating a distinctive cinematic experience that succeeds in keeping one on the edge of their seats throughout. But what truly distinguishes the film is its willingness to explore unconventional themes, offering a fresh perspective on activism and survival.

Particularly as it delves into the lives and struggles of tribal communities in regions like Jharkhand. Setting a precedent for an emotionally charged story.

Yes, although it strays from being a survival drama as the socio political aspect overpowers the narrative, and the world created by writer and director Devashish Makhija might not connect with anyone looking for an entertaining affair, nevertheless it deserves a watch for what it presents and the performances.

The story follows Dasru (Manoj Bajpayee), who along with his wife, Vaano (Tannishtha Chatterjee), left their forest dwelling in Jharkhand by circumstance, and for the past five years have been working and living as daily wagers in the concrete construction of Mumbai.

However, their life is turned upside down when Dasru one day comes face to face with Phulo Karma (Smita Tambe), the ruling party’s first tribal MLA, who shares a past connection with Dasru, holds him responsible for a personal loss and is keen on settling scores.

Setting into motion a series of terrible events, which sees Dasru going on the run with his three-month-old baby daughter Joram. Chasing him is the exhausted police inspector Ratnakar (Mohammed Zeeshan Ayyub) who is reluctantly just following orders from above, even though he is not sure if they are right.

On surface, the film takes the shape of a thriller but it is the desperation of these two men that makes it a realistic human drama, where one is a puppet who is not expected to use his mind and the other is a mere pawn in the big game who is surviving well beyond his expiry date. Here, director Makhija skillfully juggles two narrative focuses, one centered on activism and the other delving into the gripping territories of survival and revenge. The film resists the temptation of a suspenseful plot.

The writing doesn’t keep Phulo’s plan a secret for long. We know, almost immediately, that she is behind the slaying of Dasru’s wife. She isn’t staged as some messiah who, for the sake of a final twist, turns out to be a devil. She activates the entire system to smoke him out. The difference is that Dasru isn’t aware of her involvement.

This creates a strange dissonance between the viewer and Dasru’s desperate journey. Every time we see him hiding in the wild and seeking the help of a former rebel, it feels as though he’s on a quest for counter-revenge. It looks like he is hustling towards a confrontation with Phulo.

In comparison, Ratnakar’s track is on-the-nose stuff, with the locals constantly spelling out their condition to this wide-eyed outsider. The chain of command, stretching from a Mumbai cop to a ramshackle station in a Jharkand village, gives you a clear glimpse of how power shifts, and has always shifted, in India.

Weaving a narrative that exposes the dog-eat-dog mentality driven by the pursuit of power and status, director Makhija delves into the injustices of caste and societal hierarchies. This high emotional resonance, combined with the film’s insightful exploration of socio-political issues, makes it not just entertaining but also a significant commentary on the realities faced by tribal communities.

Performances wise, Manoj Bajpayee‘s portrayal of Dasru is nothing short of fantastic, effortlessly capturing the character’s desperation as a father fighting against the odds to ensure the safety of his child. Yet again, he speaks fluently through his body language.

Mohammed Zeeshan Ayyub proves to be a competent foil as the policeman who could see the wrong but can’t correct it. Smita Tambe delivering a particularly powerful portrayal that adds depth and intensity to the film. Tannishtha Chatterjee is her usual impactful in her special appearance. On the whole, ‘Joram’ is a difficult yet refreshingly unconventional thriller that is masterfully crafted and performed.