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The director who is the multiple-technician of the film has extracted decent performances out of its super-talented lead pair. Having said that although Nana keeps one intrigued in a role which is unlike what we have seen him in before, Rekha's portrayal of the nautch girl is average strictly because of limited scope. Also it is very difficult to accept a blooming courtesan when the screen shows another reality. The Lajwanti in the latter half of the film is far more believable in that aspect. But one has to remark on the last scene of total breakdown of Lajwanti, which leaves one speechless. Deepti Naval, the most under-rated actress of the film-industry is misused completely in a role that undermines her talent extensively.
Cinematography, again handled by Goutam Ghose is evocative. Especially the scene where the pristine clear blue sky reflected in the equally clear river against a white bank is juxtaposed against the pain of a woman's ultimate indignity. Sound design added the ethnic and cultural feel of various locations but some of the dialogues were unnecessarily un-energetic and some even off sync! Art direction was commendable with the minute detailing evident not only in the home of the protagonists but also the Old Hyderabad, which is a set created in Ramoji Film City. Editing was as mellifluous as the flow of the screenplay and full marks again go to the director for the same.
Yatra, is one of those films, the power and breadth of whose message is so intense that the remaining aspects seem unimportant. But, as far as a film goes the artistic layering, even if sound has to appeal to the intellect as well as aesthetics of the audience. This sadly, Yatra will not be able to achieve, limiting itself to a very select audience who will have to willingly forego entertainment, great production values and self-delusional cinema in order to take home what the film has to offer.
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The views expressed above are of the writer and shaaditimes does not necessarily endorse the same.
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Fatema Kagalwala
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