‘Kayo Kayo Color?’ film evaluation: Shaded lives


A nonetheless from ‘Kayo Kayo Color?’
| Picture Credit score: Particular Association

Steadily in Kayo Kayo Color? (Which Color?), a black-and-white debut characteristic by Shahrukhkhan Chavada, the sudden takes over. A Muslim household in Ahmedabad is winding up dinner. Recognising that it’s been a very morose day, the daddy turns to his son, smiles, and says, “I’ve received ice-cream.” We sense a well-known cinematic beat, Antonio and Bruno lifting their spirits with a meal of sandwiches in Bicycle Thieves. Hastily, although, there’s a energy reduce. The display fuzzes and dips to black. A lot hangs in these two minutes of odd darkness — hope and pleasure, worry and vulnerability.

The scene works as a result of its temper is just not settled. Like the nice and playful masters, Chavada doesn’t commerce in simple pathos. His movie, which premiered at Rotterdam fest earlier this 12 months and was just lately screened on the 71st Melbourne Worldwide Movie Competition, tracks a day within the lifetime of a poor marginalised household in a cramped neighbourhood in Gujarat. It’s a linear and vivid work, shot with non-professional actors within the Kalupur space of Ahmedabad. Curiously, Chavada, 28, will get his first identify from the Bollywood famous person – a shocking revelation, given how decidedly un-Bollywood his debut movie seems to be.

Kayo Kayo Color? (Hindi, Gujarati)

Director: Shahrukhkhan Chavada

Forged: Samina Shaikh, Imtiyaz Shaikh, Yushra Shaikh, Fahim Shaikh

Run-time: 96 minutes

Storyline: The day by day struggles (and minor joys) of a marginalised working-class household in a cramped neighbourhood in Ahmedabad

Hindi movies of all persuasions are inclined to hector us in regards to the details and fictions of odd Muslim lives (that is very true of the final ten years). Chavada provides us its particulars, its rhythms. The movie opens with the decision for Fajr, the primary namaz of day. Raziya (Samina Shaikh) makes an early begin as her husband, Razzak (a movingly naturalistic Imtiyaz Shaikh), sleeps on. She then wakes her two youngsters, Ruba (Yushra Shaikh) and Faiz (Fahim Shaikh), and readies them for varsity. The youngsters stroll right down to a close-by madrasa, recite verses, return. Although the family is quickly abuzz with actions, their lives aren’t shifting. We study that Razzak has just lately give up a job – it was too far and ill-paying, he causes – and is planning to purchase an autorickshaw. He wants Rs. 15,000 to repair what seems like a charitable deal.

A still from ‘Kayo Kayo Colour?’

A nonetheless from ‘Kayo Kayo Color?’
| Picture Credit score:
Particular Association

Narrating the story of a ghettoized Muslim household in Gujarat (the movie is ready in 2016), Chavada seems in no rush to offer sociopolitical context to his story. The truth is, with out the English subtitles choosing out ‘riots’ and ‘2002’ for a lay viewers, there isn’t a lot to lean on. As a substitute, quite a bit is claimed by means of a collection of small however putting disparities. Razzak’s mother and father reside individually in a derelict one-room; his sister, who’s moved up in life, nests in a swanky house. The rickshaw Razzak desires to purchase however clearly can’t afford is a ‘2014 mannequin’ – a morbid wink. The movie is eager about an Ahmedabad of each previous and current: pyramid schemes and Jio connections now serenade its city poor.

Kayo Kayo Color? is filmed indie-style with a mixture of static and handheld photographs. At one level, the body tilts abruptly and reorients itself. Elsewhere a frolicking youngster bumps into the digital camera and runs far with it. These imperfections lend a uncommon form of life to Chavada’s movie. I’d additionally presume they resulted from sensible decisions and limitations, slightly than issues of symbolic intent. The few photographs that do really feel that means are the close-ups of craggy, uncovered brick partitions.

The movie communicates quite a bit by means of the notion of play. The title comes from a girly pastime of calling out colors at random and finding them in a single’s neighborhood—noticed in boring monochrome, it turns into a metaphor for marginalised lives. Visiting her wealthy cousins along with her grandmother, Ruba is allowed to journey an expensive-looking bike — the happiest second of her day. Chavada understands the listlessness of a strained childhood. There’s something dystopic about his movie a few particular time and place: a ball kicked round on a concrete avenue, a goat chewing on junk the place grass ought to have been.



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