When Sanjay Mishra tumbles in his courtyard, upon hearing news of his son not having come home, a child's naked doll lies beside his prostrate figure. Later, it is disclosed the girl's father has committed suicide (which is why she was called out) and the image of this schoolgirl saying 'Bye' comes rushing back to us.
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But the movie doesn't elegise: It has a hallucinogenic-romantic vision, a languorous-seductive flow, and Panda has a wonderful, offhand, way of suggesting life's brutal ironies.Ī schoolgirl is whisked away from a classroom and she enthusiastically says 'Bye!' to her friend on her way out. It is a dog eat dog world of unfed dogs that the director sets his characters in.
Kadvi Hawa has concerns and issues to raise, but they are so powerfully dramatised that even Gulzar's poetry about climate change may seem a tad square, too narrow a summation for the film's scale of attack.ĭirector Madhab Panda almost magically humanises everything he photographs when a clerk at the rural bank sits in his office chair with no shirt and just his banian on, the rickety, airless office seems to shout out: 'Even he has his reasons!' This is an intensely felt, beautifully expressed, sustained piece of cinema. Ostensibly, both these characters are victims of climate change, but don't let anybody tell you that Kadvi Hawa is a manifesto for the fight against climate change or that it's an austere, unforgiving, movie. 'Have to bring my family here before the next rains,' he states. It's the barren Mahua that feels like heaven to him. His native land in Odisha is prone to incessant flooding (he has a mother who has waited patiently for years on the banks of the river that consumed his father). It has not rained for two years in Mahua and Mishra's enthusiasm is understandable.īut Shorey detests the place he's from, and he has his reasons! 'With water everywhere, the place must feel like heaven.' When Shorey reveals he's from Odisha, Mishra lights up. They have a secret deal to forge and they make small talk before getting on with it. To Shorey, an ambitious debt collector in his small rural bank (The villagers call him the 'God of Death', a nickname he's partly proud of), and to Sanjay Mishra, who plays a blind graybeard concerned about his farmer-son's mounting debts, the sandy ravine has turned into a virtual office. Shorey says it in Nila Madhab Panda's Kadvi Hawa, sitting atop a ravine in Mahua village, miles away from the aristocratic wasteland of Renoir's.Īnd that line becomes the spirit and the driving force of this film that overwhelms you and leaves you not quite the same.
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