Spoilers ahead…
I haven’t been able to stop thinking about Neeraj Ghaywan’s Masaan since I saw it a few nights ago. For one, it’s astoundingly good – dreamy and textured and with powerfully understated images that refuse to fade away. Reciprocated love is shown through two red balloons rising into the night. Boys dive into a river and retrieve not just coins but also life-altering lotteries. An unmarried young woman takes care to affix a bindi on her forehead so that she appears… not so young, not so unmarried. But it’s more than that. It’s the nagging question of – or perhaps the inability to pinpoint precisely – what this film is really about. At some level, Masaan is about the kind of topics that fill our op-ed pages. The evils of the caste system. Upward mobility. The fate of women under an unrelenting patriarchy. Urban migration. And yet, the film isn’t about any of this. All of this is in there somewhere, but the film operates at a more elevated, more abstract level. At one point, I thought this is what Masaan is about: Man. Woman. Death. Salvation. And (metaphorical) rebirth. Sort of the Hindu cycle of life, which may not be too far a reach given the setting: Kashi.
The Man is Deepak (Vicky Kaushal). His life, as his name suggests, is bound to fire – he belongs to the lower-caste Dom community that tends to funeral pyres on the banks of the Ganges. The Woman is Devi (Richa Chadda) – only, she’s no pristine goddess. She’s refreshingly human. Masaan narrates their stories in parallel, but they’re linked throughout. Both are seen in a fumbling sexual act. Both end up doing things that usually bring shame to conservative families – he, by falling for an upper-caste girl (Shaalu, played by the lovely Shweta Tripathi), and she by exploring premarital sex. Both stories throw up the word jigyasa, the desire to know. Both Deepak and Devi offer a loved one’s memento – a ring, a gift-wrapped box – to the river. (In a Buñuelian touch, we never find out what’s inside that box.) Both come from somewhat dysfunctional families – she has issues with her father Vidyadhar (Sanjay Mishra, who’s terrific but seems to be getting typecast in a certain kind of befuddled-old-man role), he has a strained relationship with his unambitious brother. Both are constrained – he by the profession of his ancestors, she by her gender (even if her father raised her like a boy). Both strive to break free – he’s studying to be a civil engineer, she teaches at a computer coaching centre. And trains feature prominently in both stories, which begin in Kashi and end in Allahabad, home of the sangam. Finally, the parallel tracks end up in confluence.
It’s not just Deepak and Devi – the people around them are linked by circumstances too. Devi lives with her father, like her colleague does (a smashingly effective Pankaj Tripathi) – a kheer moment sweetens both lives. And like Vidyadhar, the cop who blackmails him (Bhagwan Tiwari) has a daughter. At first, all these echoes seem programmatic, but gradually we see there may be a point – the sameness of it all. Some people are content with this sameness. Devi’s colleague points out that many trains pass through Kashi, but only a few stop here – it’s not easy to leave. Others like Devi and Deepak long to be on one of those outbound trains. You could say Masaan is about these lives, caught between stagnation and forward motion.
You could also say the film is about Old India and New India. Vidyadhar is a Sanskrit professor. His daughter speaks C or Java. Vidyadhar says that these ghats were once a jungle, and we see that, in some ways, the place today is still a long way from civilisation. Women are hounded for acting on their desires. Cops are corrupt. Children are made to hold their breath and dive into the river and locate coins tossed in – all for the amusement of adults. But on the other hand, there’s the very forward-thinking Shaalu, who doesn’t seem to care about caste. Find a job, she tells Deepak – things will be okay. She speaks the language of youth: It’s not who you are; it’s what you make of yourself. The technology is new too – smartphones, YouTube, Facebook – as is the mode of romantic expression: not hand-holding or chaste embraces but a straight-on mouth-on-mouth kiss, like they do in “English movies.” But look at the song Deepak chooses to record for Shaalu – the achingly innocent Ghazab ka hai din, from a film that was released a few years before we began to hear of this thing called “liberalisation.”
Masaan is all of these things. What it isn’t – despite the mystical “smash the skull and release the soul” utterances, despite the (wholly deserved) Cannes citations – is Indian exotica for a Western audience. The superb cinematography (Avinash Arun Dhaware) doesn’t prettify things. The images of burning bodies may not be as graphic and disconcerting as those in Rajesh S. Jala’s documentary Children of the Pyre, but they made me queasy. You sense the filth all around. Like Udaan, which it recalls in both look and small-town feel, Masaan is a very Indian movie. The trains, the poetry, the poetry about trains – it’s all very rooted. Tu kisi rail si guzarti hai / Main kisi pul sa thartharaata hoon (I rattle like a bridge when you glide by like a train) – that’s Deepak when faced with Shaalu. Theirs isn’t just a caste thing but a class thing too. On their first date, over pizza, as she’s reeling off the names of her favourite poets, he casually tells the waiter he wants chutney… and then he freezes… he realises she’s there too… and he asks if she’d like Szechwan sauce… that instant change from what he’d usually have to what he thinks someone like her would have is its own kind of poetry. Vicky Kaushal is excellent throughout, but I keep thinking about the careful calibrations of his hesitation here, and the animalistic depths of his breakdown much later.
Even the narrative loop-de-loops are very Indian, in the sense that they seem to obey emotional (rather than rational) logic. (Some may call these contrivances far-fetched.) Among the many marvellous flourishes in the screenplay (by Ghaywan and Varun Grover) is the scene in a hospital involving a child named Jhonta (the impish Nikhil Sahni) – it’s magic, literally and otherwise. There’s just one shot that struck me as showy, when Devi enters a house and the camera remains outside – there’s a studied formalism to these frames that stands out in the midst of the fluid filmmaking elsewhere. But this is easily brushed aside, given the richness of the enigmatic storytelling, the powerful performances. Richa Chadda pulls off something very difficult. At first I was unmoved, but she gradually grew on me. She plays a woman who’s been burnt once and is now forever counting to ten whenever she feels an emotion – it’s a brittle kind of catatonia. The film doesn’t judge her. It doesn’t judge anyone, not even the corrupt cop, who, in this holiest of places, remains unpunished for his sins. There’s so much drama in these lives, but so little on screen – it’s like the river itself, whose calm surface belies untold depths.
KEY:
Copyright ©2015 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Garima
July 28, 2015
Very well written. Although, I am surprised to note that you thought the brother was unambitious. I thought he had a bristling resentment sort of a thing going on and clearly did not enjoy seeing his brother getting opportunities not available to him (his first scene has him coming to the ghat after Deepak – presumably – so his resentment couldn’t have been at Deepak trying to be too cool for this kind of work). I am a crazy supporting character scrutinising person, so could be overthinking it.
I can see many too-clean/ far fetched type comments on the end but it’s important to remember that this is not a “where will the money come from/ lock stock” type movie. Devi’s focus on her guilt instead of the money problem sort of tells you what you’re supposed to focus on.
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cl
July 29, 2015
Beautifully written ! I read it thrice. 🙂
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Di
July 29, 2015
Will have to see it now after your review.
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AlterEgo
July 29, 2015
Brilliant. Was waiting for this review and was wondering how you will approach it.
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Anu Warrier
July 29, 2015
I have been reading about this film since its fabulous reception at Cannes and other film festivals. I’m holding my breath hoping it will show up in one of the arthouse theatres here.
Thanks for the write-up.
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Neeraj Ghaywan
July 29, 2015
I loved your review!! I cannot believe you got so much under the skin of the film. You’ve read it EXACTLY the way me and Varun Grover intended it. It felt as though you were there with us in all the two years of research in Varanasi, or when we are jamming in our pad, when we were intently listening to feedback from peers and also being by our side at Cannes standing ovation. Heck! You even saw the C and Java books at Devi’s desk 🙂 I am happy that you saw the film as characters in the fore and socio-political background as just an aid to the narrative and not the moot point.
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Destination Infinity
July 29, 2015
Thanks for the reco, I will see it 🙂
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Radhika
July 29, 2015
Beautifully written and thankfully crisp. Was waiting to read your write-up. And now we know, the director was waiting for it too!
@Neeraj: Hope you will come back to read the comments. Congratulations on your first film, and for making one like this! Please do continue to pay heed to that nagging voice that made you quit the moolah-making job and switch to what you are doing now. Best wishes for your next movie, looking forward to it eagerly.
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binducherungath
July 29, 2015
Superb!!!! Very nicely written!
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Hithesh Devasya
July 29, 2015
I loved the film. Love reciprocated by sending a balloon up in the sky.. wah, almost as good as Dushyant Kumar’s poetry.
I am still unmoved by Richa Chadda’s portrayal. There is something very jarring about the internalisation. When she has to scream at her father, Devi doesn’t become that woman who can scream. At the same time, Vicky Kaushal even with the internalisation has just the proper lopsided smile and when he cries, you don’t need any music to know that it is a dirge that should be playing. The three Tripathis were simply superb 🙂
I thought the story did coincide pretty neatly in the end. It is as they head to Sangam that the two lives connect after a cycle of closures. Life, death and a hint at a start of something new.
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Gradwolf
July 29, 2015
Was wondering how come you haven’t caught this but then you hit this one out of the park didn’t you. Well played.
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prasunb (@prasunb)
July 29, 2015
I too was reminded of Udaan by this film … wasnt entirely sure why … I thought it was the Anurag Kashyap connection … But as you rightly pointed out … its the small town look and feel … Infact one of the reasons I didnt like Masaan as much as I thought I would , is because of the comparisons with Udaan in my head which I had loved. (Being born and brought up in Jamshedpur obviously is a bias)
Couple of things that bothered me about the film (and they are mostly about how the story played out in my head)
The boat ride together in the end was too simplistic … would have liked a more “filmy” end … Considering that Deepak and Devi both are working in Railways, a meeting on the train or a station romance developing between the two …
Richa Chaddha as Devi … she is wonderful … however her previous body of work played heavily in my mind … there is something in her looks that makes her come across as an extremely powerful woman on screen … be it Fukrey, GoW or the one in SHORTS where she is literally all over her boyfriend … somehow she wasnt believable as the one in trouble .. again I entered the hall a a bit late (almost at the same time that the cops entered the hotel room) … so may have missed the build up to the encounter in the room which may have helped me see Devi as a person before the life altering event in her life …
Another thing that “troubled” me as little … both the big twists … the bathroom sequence and the Shaloo sequence later … somehow you could sense them coming … they didnt jolt me … which might have affected me more regarding the film …
finally the soundtrack … Indian Ocean are legends … but this has to be their weakest effort … I carried home none of the songs except Gazab ka hai din …
But these are minor quibbles … films like Masaan get rarely made … and when they are made , they need to cherished …
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वरुण (@varungrover)
July 29, 2015
Thanks for such a detailed and (like always) insightful review BR. Mildly surreal to read this, after following your blog for years.
Of all the things you’ve listed, am the happiest about the ‘Jigyaasa’ connection ‘cos for me that word/emotion is the core of the film. Another few (deliberate) connections we attempted – both Devi and Deepak check their alive/dead lovers on FB, Devi says ‘chhoti jagah, chhoti soch’ while Deepak’s friend tells him ‘Zaroori nahin sab samajhdaar (progressive) hi milein iss shahar mein’, and the news playing on TV in the first scene is of that man who jumped into a tiger’s cage in a Delhi Zoo hinting that Devi’s life is about to take a sad turn.
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hype_atia
July 29, 2015
Lovely review. I found it a calm movie with amazing depth, like the Sangam itself. I thought about it for a long time – even the minor characters resonated, such as the railway clerk crushing on Devi, a man trapped in a small town and dreaming and only dreaming of bigger things. I thought he in his own way served as a cautionary tale. I have high hopes for Neeraj Ghaywan.
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olemisstarana
July 29, 2015
I’m not going to read this just yet, but wanted to quickly put a question out – is there any way people outside India can see this legally, like a pay-per-view, yet?
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pals13
July 29, 2015
Wow…. this piece is poetry in motion…. simply superb..
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Sutheesh Kumar
July 30, 2015
Watched this movie last Sunday and I was waiting for your take on the it ever since. This movie was deeply affecting and haunting, an accomplished work and its hard to believe it’s by a debutant.
As vouched by the director himself, you are the Sherlock Holmes among the reviewers. Great work both of you. Thank you.
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brangan
July 30, 2015
Garima: Well, maybe “unambitious” wasn’t the right word. What I meant was that he was sort of resigned to his fate in contrast to Deepak, who was actively trying to transcend it.
Neeraj Ghaywan: All accolades coming your way are well-deserved. Congratulations 🙂
Radhika: thankfully crisp
That’s a new one. Uh… thanks I guess? 😉
Gradwolf: The delay was because it was only playing in a night show. I dislike night shows intensely. Takes me a while to get into writing mode. I love the feeling that you have the afternoon or evening ahead of you, when the film is still fresh in your head and you can pull out scenes to write about without much strain.
वरुण (@varungrover): This is the moment we here at the blog get to say things like, “Oh, Varun… I knew that guy long before he became Varun… I’ve even chatted with him about films.” 🙂 Great work and best wishes from all of us here.
Sutheesh Kumar: As vouched by the director himself…
Er, let me just step back and say this: While it’s a brilliant feeling to have seen a film the way a director intended, it’s not the only way. Once the film is made, a director is no longer the only author. As a viewer, I reserve the right to my own readings, become my own author 🙂
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Gradwolf
July 30, 2015
Tell me about it. I had to do this for the paper and couldn’t fit in a night show in my schedule that Friday (and have pretty much same problems as you though if I am not writing about the film, I do enjoy the late shows). So I went all the way to Mayajaal for the 6 pm one! About 10 of us in the theatre. I went there after a really long time and found the place so dead. Guess it livens up only when a Rajini/Kamal release happens and all those not privileged enough to get first or second day tickets in city theatres settle for Mayajaal.
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Rahul
July 31, 2015
Read this on twitter and immediately the running motif on this blog (about irrelevance of authorial intent) came to mind-
The truth is like an onion. You keep peeling it thinking you will find it in the core. Actually, the truth is the sting in your eye.
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VS
August 1, 2015
Loved the film and your detailed post. Did not expect before this film that Richa Chaddha c’d act so well. Did not like the ending very much but overall film satisfied a lot.
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aparna
August 2, 2015
“Masaan narrates their stories in parallel, but they’re linked throughout.”
Speaking of convergence of the two storylines, did anyone else notice that it was Deepak who bashes Piyush’s body’s skull to let out the evil spirits because Piyush’s father was too grief stricken to do so. While Devi watched this from a platform.
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aparna
August 2, 2015
Some things here kinda bother me. Would a girl as educated as Devi not know that there was a risk of such a raid happening if she went to a seedy hotel with a guy? Was it the lack of a mother or a lack of close relationship with her father that created such a lack of common sense in her?
Also how were the policemen so sure that it was an unmarried couple in the room? Suppose they were wedded? Wouldn’t the police be very much in the wrong barging in like that?
The “moral policing” aspect here is so heart wrenchingly unfair. In India, especially in smaller, more conservative places, the police (and others) act as if its a crime even if two people of the opposite sex talk or walk together. In Calicut some time back, when a brother and sister were walking home after school, the moral police bashed up the brother thinking he was a lover and he ended up in hospital. While according to Indian law there is nothing criminal about consensual heterosexual sex between adults . Or public display of affection. This was what the “Kiss of love” campaign that was in the news a few months back was all about.
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VS
August 6, 2015
Aparna , Devi comes from a lower middle class family and daily people fall for this act and are exploited by police and local goons. It is a very common thing in India. You may recall that Police Inspector gives family details of Piyush, while he was hiding inside the washroom. Normally such hotel people are hand in gloves with corrupt police people. As said in this hindi review [ http://cinemanthan.com/2015/08/01/masaan2015/ ] police people have a complete network to exploit such things and they milk the money out of the victims. It is a business. They are not into the moral policing but they know very well where such things happen. Have we ever heard that police raided a five star hotel and caught young lovers? It does not happen, it can not happen unless somebody has to be victimized for political reasons.
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Anand
August 14, 2015
Jitna intensity apne yeh likha hai.. utni intensity film mein hoti toh bahut achi ban jaati.. sab kuch bada superficial hai.. bus ka accident hota hai. 60 log marte hai aur sirf usi ladki ki laash Deepak ke paas aati hai.. aur uski ring se baad mien kisi teesre ke karz nipat jaatien hai.. mother of all coincidences
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brangan
August 14, 2015
Anand: Why not just see it as a deus ex machina? After all, this is a city of gods. Plus, we are shown a magician…
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Prananwanand Singh
August 25, 2015
Excellent Movie…must watch. I am sure masaan will be with viewer for few hour / day after watching in theater.
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NeDhaPa
November 6, 2015
Saw it last night. What a depressing movie. You have to deal with extremes in cinema today either with a guddu’s golden “gun” or a shaandar or some equally mindless movie or a masaan where : If you fall in love you are in grave danger. If you have pre-marital sex, then your life is ruined forever and ever. Why is the hotel raided when two people are making love in there is never explained (not a big problem; it is convenient) and it seems like this taboo in the society is so bad that no one in india has sex b4 marriage, you will have to commit suicide out of shame or you will be hounded by corrupt policeman for a long time. ALL the characters have just-had-castor-oil look on their faces; so depressing and completely playing to cannes galleries and give-me-award-already buttons that director-writer pushes in your face the whole time the movie is playing, suited for western audience taalis and awards. Everyone is helpless, depressed and bound by corruption or patriarchy or caste-restrictions and they all are powerless to do anything about it, a third world rhetoric which western world would love to hear and know about…how “intolerant” everyone is. And the biggest ‘objection’ I have is from a desi critic of your esteem to say “the place today is still a long way from civilisation”. HA! What a line! THIS is exactly how a western person who visits India feels. When they are in villages “away from civilisation” and when they are in mumbai they are “in civilisation”.
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Swarna Pandian
November 9, 2015
Finally after a long wait watched this movie today. I am feeling so unsettled after watching Masaan. Its like there is a second movie in the background behind all the shor (hustle bustle) of Kashi.
There is no melodrama thats exactly how a indian father will react to a situation.
Richa Chadda is amazing as a strong independent woman who feels suffocated by the small minded society and dares to break free.
Vicky Kaushal’s performance is stunning who is male counter part of Richa and also aspires to get after from Harishchandra ghat.
Both are faced by death of their lovers and both find courage within themselves move forward with their head held high.
Shown how they struggle to get closure and how their experience transforms them.
Shweta Tripathi is so cute and genuinely appealing ,anybody would fall in love with her.
Great movie.
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karrvakarela
January 17, 2016
Really liked your review, Baradwaj. You articulated precisely what I felt after I watched this one last night. It’s a tremendous movie that just slips under the skin, both feral and tender at the same time.
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Nupur
February 18, 2016
A little late but excellent review. I can see I am not the only one who carried this movie (and still does) long after it was over. What an immersive experience. Just wanted to thank you for giving words to whatever I get about this movie. Isn’t it a shame that Vicky Kaushal didn’t win the best debut Filmfare for this movie! What a farce
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Swaroop Kodur
March 20, 2016
I agree with everything you have said here. Except that Sanjay Mishra is getting typecast in such roles. I think the only other role similar to this is the one in Ankhon Dekhi. He was excellent in this.
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tonks
April 17, 2016
VS said : Devi comes from a lower middle class family and daily people fall for this act and are exploited by police and local goons. It is a very common thing in India. You may recall that Police Inspector gives family details of Piyush, while he was hiding inside the washroom. Normally such hotel people are hand in gloves with corrupt police people
There’s now some hope in sight in India. I saw this link and the sad, pathetic, terrible hotel harrassment scene in Masaan was what first came to my mind :
http://m.gadgets.ndtv.com/internet/features/this-delhi-based-startup-helps-unmarried-couples-get-a-room-825692
This Delhi-Based Startup Helps Unmarried Couples
India is generally a very unwelcoming place for unmarried couples looking for some privacy. Most hotels will turn you away, without asking any questions. So it’s a pleasant surprise when you see someone taking a different approach
“Couples need a Room, not a Judgement,” reads the tagline on the homepage of StayUncle, a Delhi-based startup that’s challenging the country’s conservative attitude towards pre-marital sex.
Founded in 2014 by Blaze Arizanov, Nandi Kumar Singh, and Sanchit Sethi, the Delhi-based startup began as a general travel booking platform, but then rebranded itself with a business case around unmarried couples in September 2015. Presently it lists couple-friendly hotels in Delhi NCR and Mumbai.
Hotels are known to turn away unmarried couples – according to online travel aggregator Cleartrip’s FAQs, accommodation can be denied if the guest is from the same city, or if the couple is unable to provide suitable ID proof. A Reddit thread on the subject reveals how couples must come with a suitcase and carry outstation ID. This may not apply to all hotels, especially in the 4-and 5-star class, but it’s an ugly situation any couple would rather avoid
“We were a young but unmarried couple. They didn’t allow us to stay together. And forced us to check out. I don’t know why. We travel throughout the country. Never happened earlier with us. Pathetic. Like we are in Mughal Era,” reads anonline review of an Oyo Room situated in Jalandar
“There is no law that prevents couples with local ID proof to book a hotel just like any other guest type. Let us repeat that again – There is no law that prevents couples in India from booking an overnight hotel stay,” StayUncle’s FAQs reads. “In the next couple of months, our next plans for expansion include Chennai, Kolkata, and Bengaluru. We plan to go to every Tier 1 city,”
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Pavan
December 8, 2017
I really was amused watching the love story of Deepak and Shaalu. There is this scene where he asks her to inform him if any male does yell at her or disturb her. She asks what if you shout at me? He says, tell to me then as well.
First I felt it very normal. Sort of those “silly nothings” lines couples converse. But, later, I get to see her question turning real in the interval. The subsequent conversation on Ganga too was his reply turning true: “tell to me”. If this is good writing, I wish to see more of such. And, these two moments happen in silence. Silent enough to respect the intimacy and the privacy. Sweet!
PS: If Masaan had a South Indian setting, what would be the proper location that could serve as an answer to Kashi? I mean to ask, is Varanasi inseparable from the film if it is adapted/remade?
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