A look at a Muslim in India – diversity
A look at the reality of a Muslim textile retailer in South India tells of a deeply influential humanism that wonderfully underlines the dignity of men.
Director Arun Karthick’s reserved, deeply humane approach to addressing the hideous anti-Muslim rhetoric that infects Indian politics today has proven to be far more powerful than any major drama imaginable. “Nasir” is an excellent example of what can be done on a tiny budget when the vision is strong, the script is reserved, and the actors prefer rapport and naturalism over dramatic flourishes. The story takes place in one day in Karthick’s hometown Coimbatore in the west of Tamil Nadu and shows a Muslim fabric shop seller who is immersed in an increasingly toxic atmosphere of Hindu nationalism. “Nasir” was shot with a 4: 3 Super 16mm lens to achieve remarkable color saturation and is a sleeper jewel that deserves a significant festival piece.
Karthick uses such a delicate structure that focuses on the everyday life of everyday life and carefully introduces contradictory elements that the brutal finale is a shock, even though he practically prepared for it from the start. He creates an atmosphere of mutual support and affection between Nasir (theater director Koumarane Valavane) and his wife Tal (Sudha Ranganathan), who skillfully creates a nuanced portrait of his protagonist so that the film not only condemns intolerance and violence, but a humanistic sketch of a person that we could interact with every day, be it a shopkeeper, a waiter, a deliverer, or a doorman. “Nasir” gives life to the otherwise abstract concept of “neighbors” and offers an insight into the unexpected depths of the people around us who pass unnoticed.
A series of close-up shots and close-ups capture small everyday pleasures as Nasir awakens in the kitchen as his wife and mother prepare. Tal is on the road for three days to help with a wedding, and Nasir mainly has to take care of her developmentally disabled adoptive son Iqbal. As they all prepare for the morning, public speakers broadcast announcements from the mosque on one side and Hindu propaganda on the other.
In the Fabric Emporium where Nasir works, a decorative triptych shows symbols of Hinduism, Islam, and Christianity, but it is an empty representation of inter-religious pluralism in the face of the dangerous anti-Muslim utterances that his boss Manickam, who has none, casually out of the Mouth-dropping interest in its employees is something other than gears in business. A friend offers to put Nasir in touch with people in Abu Dhabi who could hire him to work there. However, he is considering whether he can deliver, including to an elite boys’ school where boarding school students treat him with contempt. He has a day off to pray in the mosque when the hustle and bustle, the noise and the colors of business and the city suddenly disappear, replaced by silence and silence.
Karthick avoids exposure, so the audience must gather information from situations and informal conversations, as well as incitement to anti-Muslim violence projected by speakers. Nasir’s respectful relationship with customers does not set him apart from his employees, but while the employees engage in gossipy, occasionally violent jokes, someone asks him to recite one of his poems. As he speaks elegant words written for his wife, the camera slowly pans to the side of the store. It looks almost like a discreet highlighter that visually highlights the moment as something extraordinary and stands out from the pettiness around it. The scene suddenly adds as much color to Nasir’s character as the rich hues of the goods, which reveal dignity and depth in a place of commerce and prejudice. Grace notes like this turn the horror of the end into a kind of abdominal crunch that doesn’t go away once the lights come on.
Cameraman Saumyananda Sahi also worked with Karthick on his debut film, The Strange Case of Shiva, and the two seem to work together seamlessly and overlay the visual layers – Tal is initially separated from Nasir by a canvas or grill – and draw the tactility of simple actions with well-edited close-ups. The strong red tones of many fabrics in the shop look like a warm carpet of color; Although life is not easy for Nasir and his family, this is their city of modest beauty, and the forces of Prime Minister Narendra Modi’s racist BJP party are the real infection.
Courtesy : TB