This film, "Raah Sangharsh Ki", on the inter-caste and inter-class love of two social activists Subhadra Khaperde and Rahul Banerjee has many intertwined narratives. The love of the protagonists, their life of struggle and the rich kaleidoscopic narrative of the world around them in which the first two narratives play out. Thus, there is ample scope for the film maker to use cinematic metaphors by combining the first two narratives with the last to create a film imbued with deep meaning that enhances the overall viewing experience. Director Akshay Indikar has done this with aplomb with able assistance from his cinematographers Rakesh Bhilare and Ravi Uchhe, directorial assistant Prasanna and set designer Vishwaraj.
The film starts with their life of struggle by depicting a very difficult time in the lives of the protagonist couple, when they were being oppressed by the police, with the iconic song "Isliye Raah Sangharsh Ki"sung a capella by the duo, playing in the background and then eases into the blossoming of their love story earlier during the Sangharsh Yatra of the Narmada Bachao Andolan. These early scenes in their life have been filmed with two young actors Yashika Batham and Spandan Mukherjee, who have filled in with some very good acting for the protagonists with the moving images of a heritage Gandhian Ashram, a heritage railway station and railway line and the pristine Narmada River in the background. This sets the trend which rises to higher and higher levels as the film progresses.
The protagonists describe their loves and struggles with such heritage structures as the Fort of Mandu, the Fort of Maheshwar and the Bagh caves in Madhya Pradesh and the Victoria Memorial Hall, the Indian Coffee House in College Street and the Palace of Bawali in West Bengal in the background. The activists have spent a lot of time walking, cycling and travelling in public transport in their lives and this too is visually depicted with rich forests, the Narmada River, streams, lakes and farms with crops in the background. A ride in a tram which is a signature feature of Kolkata is also thrown in for good measure. Along with these heritage shots are there are those of the protagonists' tastefully decorated eco-friendly house in Indore from where they run their diverse social activities.
However, what takes the cake is the picturisation of the statements of the protagonists' son Ishaan. He says that he has a middle name Kalorano which is the name of the Bhil Adivasi God of rain and why he has got this name is shown through his parents reaching the hospital in torrential rain for his birth. He later says that the love life of his parents is like driving on a tortuous hilly road with unexpected turns and stops followed by long simple straight stretches and this is picturised with the protagonists riding on a motorcycle through a hilly road with the forested hills in the background. A cinematic masterstroke that raises the film to another level altogether.
The protagonists have worked for the development of the Adivasi farmers through an organisation that runs an organic farm and a school and these too, feature in the background. The film ends with a fabulous Adivasi dance celebration which reinforces Rahul's saying that he has learned much more from Adivasi culture than he would have if he had pursued a professional career as a civil engineer.
Thus, while the film follows the heart-warming story of their love and the social struggles of the couple and narrates it very well showing the electrifying chemistry of their relationship including some very humorous exchanges what sets it out is the immense beauty of the moving images whether shot in cities or in villages that add a deeper dimension to it.
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