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Jalpari Review

Critic Score 60

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Bollywood Hungama | Taran Adarsh

JALPARI is the second film of Nila Madhab Panda, whose first feature film I AM KALAM won several national and global honors. JALPARI deals with the various predicaments that a girl child encounters in rural India and also addresses the divide between rural and urban India. In fact, female foeticide, gender inequality and atrocities on women are unsettling subject matters. Since the documentary culture is not popular on the home-turf, Panda endeavors to depict a forbidding topic by highlighting the male and female sex ratio in a lighter way, without getting preachy about the whole thing.



The child performers are good but no patch on Harsh Mayar and Hussan Saad in Panda's 'I Am Kalam'. Mayar in fact, has a role as a rough village boy, which he struggles to give an identity to. But somehow, the characters in the village remain shadowy, under-sketched. The only exception is Tannishtha Chatterjee, who as a rural migrant from West Bengal brings her trademark spunk into her character.


Dailybhaskar | Mayank Shekha

Driving down to his village with his kids, the dad (Praveen Dabbas, earnest as always) wonders aloud how “romanchak” we usually show our villages to be in the movies. There is clearly no poetry in poverty, much less romance in ignorance. Rural life is as much exotica for the urban Indian young now as it used to be for the West once. It’s good to see a realistic depiction in a film.


Nowrunning | Mansha Rastogi

Nila Madhab Panda surely knows how to infuse a very potent social issue in his films and present it in a light-hearted manner without turning it into a heavy or melodramatic film. In his previous film I Am Kalam too he addressed the issue of child labour and illiteracy while this time around in Jalpari he tackles female feticide. However Jalpari doesn't quite match up to the brilliance of his debut film. In the first half the film stretches for no reason testing the audience's patience. There's too much focus on unimportant sequences wasting ample screen time. But right when the film comes to its main plot mostly towards the second half, Nila starts rushing up with the proceeding and gives it a rushed end.



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