LET THE BACKBONE NOT BECOME A WISHBONE

 “They tried to bury us; they did not know we were the seeds”!

That Mexican proverb has a pertinent message in the backdrop of women's emancipation. "ಜಟ್ಟ" ('Jatta'), a 2013 Kannada film delves into prevalent perceptions about the stereotyping of women. The suspense thriller, which won widespread critical acclaim, uses the clash of cultures as the context for its narrative.

The male protagonist of the suspense thriller is Jatta (Kishore), a forest ranger. He is leading a secluded life deep in the forest... alone, for his wife, Belli (Pavana) has eloped with a tourist. The incident has shattered him and he is a mental wreck; so, he falls easy prey to the propaganda of male chauvinists, who radicalise him.

Jatta rescues an inebriated young lady, Sagarika (Sukrutha Wagle) from a car crash. It is an opportunity for him to reform Sagarika and make her traditional in her beliefs and behavior. So he chains her in his shack. But, Sagarika turns out to be more than what Jatta had bargained for. A dogmatic feminist, she refuses to bow down to the abuse and intimidation. Soon, a remorseful Belli too returns home. But, does Jatta show compunction? Are there any signs of Stockholm syndrome in Sagarika? Do two wrongs make a right?

All that sets the stage for intense drama and dialogue onscreen.

Debutante director, BM Giriraj is sincere in his attempt to capture on celluloid the contrasts in and conflicts of core values, social mores and cultural beliefs. But, he tries too hard to do too much. The film superficially explores too many complex issues in society– from crime, corruption and chauvinism to feminism, religious faith and personal freedoms.

Giriraj has neither dotted every 'i', nor crossed every 't'– yet, impact of the screenplay is adequate. The narration too is gripping enough. A more discerning eye for detail though would have been welcome. The dialogues are tacky and far-fetched, save a few intensely emotional sequences. The editing, soundtrack and cinematorgraphy are passable, but not remarkable.

Kishore is EXCEPTIONAL in his lead role; so too, Pavana. Sukrutha though is excessively exaggerated in her role; perhaps, the hammy overacting was at the director's behest.

The film falls woefully short! It seems to weakly and tenously imply that indulgence in drugs, alcohol and adultery are modes for women empowerment and that such aberrant behavior is justified in a patriarchal society.

It is silly, to say the least!

On the whole, the movie is a triumph of grit over fate. It attempts to celebrate the spiritedness that ought to imbue the personality of every woman. The over-zealous director's melodramatic orchestration though grates on your nerves. You just grit your teeth and await the shock in the climax.

So, here's to strong women: may we know, raise and encourage them!

I rate this drama: 6.5 on 10!