Phule Movie Review: Pratik Gandhi brought home Mahatma

Bollywood rarely tells stories of Dalit claims. It mostly sees as the victims, who require the compassion and cover of a upper caste savior. Perhaps, this is why the inspirational story of Jyotiro (Pratik Gandhi) and Savitribai Phule (Patilekha) stayed away from the radar of commercial filmmakers. Known for taking challenging topics, this week, writer-director Anant Mahadevan converted his lens to the fearless Maharashtrian couple, which challenged the social system prevalent in 19 and the suzerainty of upper caste.^Wan The century through education and progressive values, and started a mission against caste and gender discrimination.

Unlike last week, when saffron C. The story of Shankaran Nair is imaginably beyond the recognition, beyond the recognition to cash some chest-tamping moments, cling to the history recorded to a large extent, and does not give his work a very enthusiastic tone.

The film opens with a wide-angle shot of the fields of Marigold. Gradually, we know that Phule gets its surname from the flowers that his family grows in the fields given by the final Peshwa ruler for his floristry services. Flowers are offered to the gods, but the gardener is kept out of the temple. Even his shadow is prosecuted. His family and immediate society have accepted it as an order set by the scriptures, but the Phule stands against the “middlemen” between the Almighty and the man. Inspired by the French Revolution, he quotes from Thomas Pine’s “Man of Man”.

Mahadevan brings to light the hypocrisy, which is the unspecified vice -president in religion. The Brahmins want the arms to take up arms to take the numerically superior Shudras to colonial power, but they do not want them to read, write, or make a voice. Through Fatima, a reliable colleague of Savitribai, the film also opens a window for the conservative among Muslim men towards girls’ education, which is no different from Hindu society.

Lords open the education route for them, but to take them to the church. A strategist, Phule can see the British partition-and-rules strategy and implicate high priests to establish the house before taking it to foreign power.

A few moments chant you in the conceit of a section of the upper caste. When a group of Brahmins sends men to finish Phule, he laughs, says that for the first time the Brahmins spent money on it. When Phule operates marriage rituals, Brahmins object and take compensation. Phule asks if they will pay the barber when they shave themselves.

CBFC has muted the tone, but those who could study among the lines will get the response of Bhima Koregaon’s fight before Phule and BR Ambedkar’s renunciation of Hindu faith. The popular culture has focused so much on Mahatma Gandhi that we have forgotten that the non -violent struggle of the original Mahatma of modern Indian history continues.

However, in the context of the story and craft, Mahadevan again disappoints. For a large part, the film reads like a visual essay, where each paragraph captures the main attraction of their journey. Perhaps, to sideline the opposition before the release, in a kind of sequence, the film underlines that Phule had some Brahmins and friends before going to opposition from family and society; Criticism of Brahmin Bailsh, Phule’s caste system; Dung and stones were thrown in Savitribai; To provide shelter in a textbook style pregnant Brahmin widow and so on.

You can appreciate honesty in telling the story of Mahadevan and author Muzam Baig, but it is more educational than Emergent. The hero’s internal conflict and self-doubt rarely falls on the surface, and Phule’s thoughts sound more like teachings than life experiences. Anyone can see a fight to get a well of their own, fought hard, but you do not feel their thirst for change. Like most historicals, the film makes Phule’s mistake of watching Phule through today’s prism. Despite solid actors such as Joy Sengupta and Amit Behal, it seems that Brahmin characters are ridiculed. This means that no suspense or surprise does not wait for us in their journey.

However, this creative flatness also deepens to portray the gravity of the strict struggle. Confidential moves, fur on the forehead, and a man infection that makes his mission not complete in his lifetime, the emergency incorporates different times and situations in his condemnable frame. Patilekha wisely stated that he seems to be more than 1885 as 2025, but together, they produce a couple’s vibe that grows from sharing a teacher-student bond to becoming a partner of the soul.

Phule is currently running in theaters