The Architecture of Abandonment: A Comprehensive Analysis of Neeraj Ghaywan's 'Homebound'
| Course | Film Studies / Sociology of Media |
| Film Title | Homebound (Hindi) |
| Director | Neeraj Ghaywan |
| Screenplay | Neeraj Ghaywan, Sumit Roy |
| Based on | A Friendship, a Pandemic and a Death Beside the Highway by Basharat Peer |
Introduction: Cinema as a Record of "Slow Violence"
In the history of Indian cinema, few films have attempted to document the collective trauma of the 2020 lockdown with the unflinching gaze of Neeraj Ghaywan’s Homebound (2025). Adapted from Basharat Peer’s seminal New York Times essay, the film is not merely a survival thriller or a road movie; it is a forensic examination of the Indian social fabric when it is stretched to its breaking point. The film posits a terrifying hypothesis: that dignity in modern India is not an inherent human right, but a reward reserved exclusively for the privileged.
Pre-Screening Context & Adaptation
1. Source Material Analysis
The film is rooted in the tragic true story of Amrit Kumar and Mohammad Saiyub, two migrant textile workers from Surat. However, Ghaywan makes a pivotal narrative shift. The protagonists, fictionalized as Chandan and Shoaib, are reimagined as aspiring police constables rather than textile workers.
- Narrative Shift: This change shifts the narrative from pure economic survival to one of "institutional dignity". By positioning them as aspirants for the state apparatus, the film emphasizes their desire to escape the "ignominy" of their identities (Dalit and Muslim) through the power of a uniform.
2. Production Context: The Scorsese Influence
The film lists Martin Scorsese as an Executive Producer. His mentorship likely contributed to the film's "realist" tone, ensuring it was "neither dumbed down nor sanitised for westerners". This stylistic choice aided its reception at international festivals like Cannes and TIFF, even as it challenged domestic audiences.
Narrative Structure & Thematic Study
3. The Politics of the "Uniform"
The first half focuses on the protagonists' preparation for the police entrance exam. Chandan and Shoaib view the police uniform as a tool for social mobility, a way to "stand tall among people who take issue with their very names". The film deconstructs the "fragile belief in fairness" within India’s meritocracy by showing 2.5 million applicants competing for just 3,500 seats—exposing systemic inefficiency.
4. Intersectionality: Caste and Religion
The film depicts "micro-aggressions" rather than overt violence:
- Caste (Case A): Chandan applies under the 'General' category instead of 'Reserved' to avoid the "shame" associated with his Dalit identity, fearing judgment even after recruitment.
- Religion (Case B): In a workplace scene, an employee refuses to take a water bottle from Shoaib. This "quiet insult" manifests the "quiet cruelty" of religious othering in corporate spaces.
5. The Pandemic as Narrative Device
Critics have noted a tonal shift in the second half. Rather than a "convenient twist," the lockdown exposes pre-existing "slow violence". The film uses the pandemic to transform the genre from a drama of ambition to a survival thriller, mirroring the crisis of injustice that already existed.
Character & Performance Analysis
6. Somatic Performance (Vishal Jethwa)
Vishal Jethwa's portrayal of Chandan is noted for how he physically "shrinks" during interactions with authority. In the opening scene where he is asked his full name, his body language communicates the internalized trauma of the Dalit experience.
7. The "Othered" Citizen (Ishaan Khatter)
Shoaib's character arc—rejecting a job in Dubai to seek a government position in India—reflects the complex relationship minority communities have with "home". His "simmering angst" highlights the tragedy of seeking acceptance in a nation that constantly "others" him.
8. Gendered Perspectives (Janhvi Kapoor)
While some view Sudha Bharti as a narrative device, she represents a necessary counterpoint of "educational empowerment". Her character shows that education is a privilege providing a pathway to dignity that is harder for the male protagonists to access.
Cinematic Language
9. Visual Aesthetics
Cinematographer Pratik Shah uses a "warm, grey, and dusty" palette. By framing close-ups of "feet, dirt, and sweat," the visual language contributes to an "aesthetic of exhaustion," trapping characters in their harsh reality without romanticizing poverty.
10. Soundscape
The minimalist background score by Naren Chandavarkar and Benedict Taylor differs from traditional Bollywood melodramas. It refuses to dictate emotions, allowing ambient sounds and raw performances to carry the tragedy.
Critical Discourse & Ethics
11. The Censorship Debate
The CBFC ordered 11 cuts, including muting "Gyan" and removing a reference to "Aloo gobhi". These cuts reflect the state's anxiety regarding films that highlight social fissures. Ishaan Khatter noted this as a "double standard" for social films.
12. Ethics of "True Story" Adaptations
The film faces a plagiarism suit, and the real family of Amrit Kumar was reportedly unaware of the release and paid only Rs 10,000. This raises ethical questions: does "raising awareness" justify the exclusion of the original subjects?
13. Commercial Viability vs. Art
Despite Oscar shortlisting, the film was a domestic box office failure. Producer Karan Johar stated he might not make "unprofitable" films like Homebound again, highlighting the post-pandemic market's resistance to "serious cinema".
Conclusion
Neeraj Ghaywan's Homebound suggests that dignity is not a reward, but a basic right denied by systemic apathy. The film treats the 'Journey Home' not just as a physical migration, but as a metaphor for the protagonists' failed attempt to find acceptance in the social fabric of India. Ultimately, the film refuses to offer false hope, insisting that "equality appears only in conditions where everyone is equally abandoned".
No comments:
Post a Comment