Parzania receives rave reviews in spite of Gujarat ban

Parzania, a movie based on a real life story of an ordinary Parsi family caught in the Gujarat riots of 2002 in which their 13–year–old son goes missing, and attempts to find him prove futile, may have been unofficially banned in Gujarat but has received accolades from movie critics even as it continues to draw large crowds in movie theatres across India.

Based on a true incident, the movie has veteran actor Naseeruddin Shah and actress Sarika in the lead roles while child artist Parzun Dastur plays the role of their child.

"This is a bold and socially relevant film for a nation that often chooses to look away from tragedies that occur home," said movie critics Gautam Kagalwala and Renuka Vyavahare in Indiatimes.com.

"Parzania is a rare film in that it deals with Gujarat's communal polarisation in an altogether genuine and honest manner. At the same time, it goes beyond the specifics of the situation and highlights the universal aspects of the narrative – loss of human values in the face of sectarian violence across the globe," said movie critic Debtaru De in Indiatarget.com.

"Rahul Dholakia's Parzania is a wake–up call, a powerful eye–opener to the world so close to us, a pointer to the bloodlust lurking beneath the semblance of calm. It is, quite simply, a film that should be seen," said movie critic Raja Sen in Rediff.com.

"What Parzania has to be really applauded for is the fact that it strongly believes in itself, and is extremely direct in condemning the State–sponsored violence in Gujarat. The message is simple, angry, and sincere – and deserves to be heard," he said.

"As a film, there might be moments you don't agree with the way the film is made, or technically locate flaws in the director's approach, but Parzania wisely holds on tight to the reins of the story, and that automatically makes it a noble effort," he added.

"Parzania is a commendable film, one that needs to be talked about, discussed, recommended and watched. It is also a film very hard to leave behind," he concluded.

"Parzania is an exceptionally well made movie. Directed by little known Rahul Dholakia, it explores the misfortune of a Gujarati Parsi family during the Gujarat riots," a review posted on art and culture website desicritic.org said. "The movie attempts to chronicle the pain, anguish and post–riot trauma faced by these people and many more."

"It is an extremely well paced movie and goes about the job of telling the story in a no–nonsense manner. The character development and build up is excellent. Halfway through the movie, you are left ashamed at being part of a country where politicians can manipulate people to kill each other and they still get elected despite everyone knowing the truth. Maybe we guys deserve this. Maybe it is because we do not take active interest in what is happening around us," it said.

"Based on a true–life incident, this tale of our times narrates the plight of a Parsi couple searching for their young son who went missing since the riots broke out in Gujarat in 2002. They could well be searching for humanity," said another review published in Nowrunning.com.

"Parzania is the breathtaking untold story of an event that changed the country and the world forever," said another critic reviewing the movie in Radiosargam.com.

"Parzania, directed by Rahul Dholakia, affects you. Not only does the film unfold the Godhra riots and aftermath on screen, it also narrates the heart–rending story of a Parsi family and how it loses its 10–year–old kid to the riots. The message is clear: The common man is most affected when catastrophe strikes!" said IndiaFM.com's review.

The Story

Based on a true story, Parzania revolves around a Parsi family in Ahmedabad. Cyrus (Naseeruddin Shah) is the local film projectionist married to Shernaz (Sarika). Their kids, Parzan, 10, (Parzan Dastur) and Dilshad, 8, (Pearl Barsiwala) are an imaginative pair, and, as they cavort around the breakfast table, they are a credibly happy household.

Allan Webbings (Corin Nemec) is a disillusioned American, comfortably late with his dissertation and not giving a damn about most things. His tragic back–story is skillfully told, as he casually narrates it over glasses of cheap alcohol to Cyrus while he hangs his hand–washed laundry out to dry. Fascinated by a neighbour's Gandhian preachings (an old bald man with glasses, mind you), Allan is more than content drinking hooch and reading philosophy without necessarily having to believe in it.

And then there is an explosion. Heard only on the radio, it sounds very far away, but the repercussions are felt. Hard.

Godhra leads to bloodthirsty mobs rampaging indiscriminately for unreasonable revenge, the fanatical fire fuelled by a selfish government.

The tale is a painfully simple one. The Parsi family is caught in the midst of the religious madness, and suffers. Shernaz manages to heroically flee with Dilshad, but Parzan is nowhere to be found. Cyrus and the family are relatively unharmed, and Allan offers them room in his own ransacked house.

The American has witnessed a woman being burnt alive on the hood of his car even as he is trying frantically to back away from the scene, and the events in Gujarat open his eyes wider than he had ever expected.

The family waits for Parzan. For any news, because the uncertainty is heartbreaking. But there is no respite. Every lead is a false alarm, every day is an unending trial of their patience, of their resilience. The film is titled Parzania because that's what the jaunty Parzan had christened his world, his imaginary utopia with mountains of ice creams and nothing but cricket – a world where everyone is happy.

But that is not the real world. The real world is what Allan is hammering out on his typewriter, through a diatribe fuelled by alcohol and loathing, disgust and defiance. The American, more profane than profound, describes the Gujarat riots with angry text, going far enough to make censor–pushing statements like: 'The Parishad is this country's equivalent of the KKK [Ku Klux Klan].'

The performances in the film are superlative. Sarika is amazing in the role of a lifetime, playing a mother pushed to the extreme. She is believable even when leaping balconies in self–preservation, and her soliloquy at the end is the clincher for the entire film.

Her warm chemistry with Naseeruddin (who too, predictably, turns in a class performance) at the start of the film is great, as is her support to him when he is breaking down at the end.

The film ends with a social message – a photograph of Azhar Mody, a real boy still missing since the Gujarat riots of 2002, in the hope that the movie may help his parents, the director's friends, get some news of him.