In society, if you are even remotely a privileged person, you’d definitely have those conversations about how we are to perceive those who aren’t privileged and how they should remain who they are.
It’s a societal custom. A design created to maintain the rift between people in the name of class. “Ticha Shahar Hona” sparks light on this topic.
Rasika Agashe’s “Ticha Shahar Hona” is a necessary punch to the gut, a raw and unflinching portrayal of the chasm between the privileged and the marginalized. The film masterfully weaves a narrative that is as relevant as it is disturbing, forcing viewers to confront the uncomfortable truths of our society.
At its core, the film is a scathing critique of the apathy and indifference of the upper class towards the struggles of the underprivileged. Through the character of Archana, a seemingly ordinary IT professional, we are navigated through a powerful narrative that completely brings our mind to a crossroads, just like the characters — whether to be involved or not to be. As privileged, it is always seen as a shame if we are to be involved in acts that might lead us to imprisonment. Even visiting a police station seems shameful as people in high society do not visit the police station. Archana portrays this feeling perfectly as she first visits the police station to give her witness statement and when she gets imprisoned and caught in a protest. For her, it is absolutely new, and she isn’t ready for this paradigm shift, which Sonali Kulkarni amazingly conveyed.
The film’s strength lies in its unflinching portrayal of the stark realities of slum life without resorting to sensationalism. Kiran, the slain house help, becomes a symbol of resilience and resistance, her tragic demise a catalyst for change. The film’s exploration of the systemic oppression faced by the slum dwellers is both chilling and thought-provoking.
“Ticha Shahar Hona” is not just a women’s empowerment film; it is a call to action for everyone. By showcasing the intersection of class, gender, and power, the film delivers a powerful message about the importance of solidarity. The film’s dialogues are sharp, the characters are complex, and the narrative is gripping.
While the film’s portrayal of the privileged class, as exemplified by Virajas, might seem stereotypical, it serves a crucial purpose – to highlight the stark contrast between the haves and the have-nots. The inclusion of songs adds another layer to the film’s commentary, enhancing its impact. It was crazy realistic to see how, even after so much of a climactic scene, Virajas never gets out to help Archana. His way of life prevents him from being the man he should’ve been at that moment. It seems calculated and stereotypical at the same time. Most importantly, it works because of the consistency and groundedness the film is trying to root for. Prasad Oak portrays this complexity very organically, which blends really well with the overall story.
Hemangi Kavi delivers a standout performance as Meena, a layered and mature character. Her portrayal is so authentic that it feels less like acting and more like a genuine expression of her own strength and depth. Meena might easily be the strongest character in the film.
Omkar Govardhan’s Prateek is yet another powerful character in the film who navigates the story in very interesting ways. There’s innocence, ambition, and loyalty to the cause. The only factor of the film that I wasn’t 100 percent on board with was the love angle between Prateek and Archana. It makes sense that there’s some sort of intimacy after Archana is so exploited at her workplace, and Prateek proves that not all men are horrible. It also makes sense for Prateek to have a crush on her, but I’m glad that the relationship doesn’t escalate much.
The cinematography in Ticha Shahar Hona is nothing short of breathtaking. Each frame is a meticulously composed visual masterpiece that feels like a painting in itself. Looking at this film, you’d never be able to make out that it is indeed an independent film. Harshvardhan Waghdhare’s work is truly exceptional, and the fire sequence is a particular standout.
Rasika Agashe’s direction is exceptionally masterful. She guides the narrative with precision, ensuring that every scene contributes meaningfully to the overall narrative.
Ticha Shahar Hona is a powerful exploration of societal customs and divisions. I’m fortunate to have experienced it on the big screen at the Reborn India Film Festival, curated by festival director Rahul Agarwal. The film’s compelling tone, combined with its well-paced narrative, strong direction, and exceptional performances, elevate it to the status of a masterpiece. It is undoubtedly one of the most impactful films of 2024.
People say cinema doesn’t change anything. People come. People watch. People go. It’s merely entertainment. End of story. But I believe that if a film can make even one person think about something, it has done its work. “Ticha Shahar Hona” has the potential to spark introspection across various societal strata, prompting viewers to question their role in the grand scheme of things Like how the “Parasite” movie talked about the division between the wealthy and the poor and how Kashmir Files started the conversation that led to thousands of Kashmiris speaking up about their experiences, this film, with a nation-wide release, can do wonders as it has the potential to start the right conversation with the right people. And if you watch the film and still choose to move on, it’s ok. After all, being involved is none of our business.
