The story of Romeo and Juliet is one that will probably remain an inspiration for filmmakers until the end of time. Tarsem Singh Dhandwar also tries his hand in the classic, through a story, though, that goes into a completely different direction and is actually inspired by real events that happened 30 years ago.
Jassi is screening at Red Sea Film Festival
After an intro that could be perceived as a wink to the Bard, with a Hindi narrator beginning the story under the sound of music, we are transferred to Punjab, 30 years ago, where Mithu, an illiterate rickshaw driver is competing in Kabaddi. In the audience is Jassi, an Indian Canadian 19-year-old girl, who is immediately smitten by the protagonist of the match. Their romance progresses subtly, but the surprising thing is that the one who truly pursues it is actually Jassi, with the shy Mithu essentially being carried into his own feelings. The two eventually come together, however, even starting a long distance relationship when Jassi has to leave. The trouble with the different caste of the two though, becomes an even bigger problem.
Probably the biggest trait of Dhandwar’s direction here are the transitions between different types of genres, romantic comedy, drama, thriller, which happen in a way that can only be described as seamless, with the plethora of switchings between one another being essentially invisible. The smoothness of this aspect is also mirrored in the way the story unfolds, with Dhandwar increasing the direness of the events as the movie progresses, in a way that keeps the viewer on their toes from beginning to end. In that fashion, the build up is ideal, but the shock factor for what happens in the end still remains, in a series of events that can put doubts on how different from animals people actually are, and how segregation can still dominate whole nations and separate people.
Check also the interview with the director
That love can still bloom under such circumstances is a miracle in itself, but Dhandwar does not let the romantic notions of his two protagonists linger for long, as the aforementioned reality eventually hits them hard, despite their efforts. Apart from that, the value of friendship is definitely exemplified, through the relationships both protagonists retain, while comments about police brutality, corruption and its connection to bureaucracy, and the blights of patriarchy enrich the context even more. Also of interest is the slight role reversal element here, since Jassi is actually the one pursuing Mithu and the one always willing to take the hard decisions for both of them.
This last aspect benefits the most by the acting. Pavia Sidhu in the titular role is excellent throughout, both as a daredevil and a victim, while Yugam Sood highlights his character’s timidness and eventual resolve quite convincingly. The chemistry of the two is also excellent, with their smiles filling the screen every time they appear on it.
Brendan Galvin’s cinematography captures life in the Punjab with artistry and realism, with the images becoming bleaker according to the style of the story. As time passes, the visual approach becomes grittier and holds less punches back, although Dhandwar seems to want to keep his protagonists away from this, with some of their most difficult scenes implied or presented through sound only. His own editing results in a rather fitting pace, which lingers towards being fast, although the ending could have definitely been a bit tighter and essentially briefer.
Overall, “Jassi” is an excellent movie that remains entertaining from beginning to end, while presenting its pragmatic comments in the most eloquent fashion.
