‘Paani’ Review: A Balanced Environmental Drama

Director: Adinath Kothare

Writer: Nitin Dixit 

Cast: Adinath Kothare, Rucha Vaidya, Subodh Bhave, Kishor Kadam

Language: Marathi

We first met Hanumant Kendre about a dozen years ago when he was featured in an episode of Satyamev Jayate, a critically acclaimed series that dealt with several sensitive social issues that riddle our society. This one was about the drought-ridden villages and the possible solutions to make the lives of these communities easier. Kendre was there to represent Nagdarwadi, his own village in Maharashtra, and to talk about his experience of resolving the severe water shortage problem the village faced. He also narrated a deeply personal story in this interview, about his own marriage, and how it may have indirectly helped him achieve the impossible. Paani is an elaborate version of that answer; it’s a story of Hanumant Kendre and his pursuit of happiness.

The subject of struggling farmers is not new to Marathi cinema, though most films deal with dire realities of professional farming — from poverty and drought to farmer suicides, painting a very bleak picture. Paani, therefore, is a rarity. It’s based on true events, and it doesn’t paint a tragic picture of the lives of farmers. It doesn’t simplify things, but still aims for a quiet confidence and a positive attitude. 

Paani wears the label of being about environmental issues, something that’s even more enhanced by the film’s National Award win (2019) in the category of ‘Best Film on Environment Conservation/Preservation’, but the film is more than that. It’s a fine character piece that tries to pay attention to both aspects, with the struggle against water shortage being one of them, while the other being the love story of Hanumant (Adinath Kothare) and Suvarna (Rucha Vaidya).

Many from the audience would surely be aware of Kendre’s story, already knowing what the film is about and the happy ending it would undoubtedly have, and that makes the director’s job all the more challenging.

The story begins with Hanumant’s elder brother (Subodh Bhave), associated with an NGO, being one of the many experts trying to solve the water crisis. But even he is sceptical about the situation in his own village improving anytime soon. This has less to do with the harsh natural conditions and more to do with the internal conflicts the village faces. The person who may unite the village and get them ready to work on the tried-and-tested methods recommended by the NGO is Hanumant, but he has his own problems. He’s just engaged to Suvarna from a nearby village, but her parents won’t let their daughter marry in Nagdarwadi, due to the water crisis. For the marriage to take place, Hanumant will have to leave the village. 

What I like about the screenplay by Nitin Dixit is it doesn’t use the conventional format of a race against time till much later in the script. Initially, we get to meet a lot of characters in the village, supportive and opposing alike. We see Hanumant’s efforts to get the village together, and the story gets enough time to find its own pace. It’s tricky to balance the ever-expanding village activity with the love story, but the film finds a way to do that without being unfair to both tracks.

However, there are a couple of hiccups along the way. The bad guys in the village seem to be there as a token opposition to the hero and never feel real. It makes one wonder if they are based on real people, or are the products of the screenwriter’s imagination. There is no harm either way, but in both cases, they should be effective enough to complement the developing storyline, which doesn’t happen much.

The second problem is the switch in the work routine in the final month. The work on watershed management is proceeding well and is supposed to go on for a few more years. And yet, Hanumant switches to the well-digging project at a moment’s notice. We know the reason behind it, and it helps to eventually develop into a tense climax, but this move seems incongruent with Hanumant’s previous actions. 

In spite of such minor issues, Paani is largely successful in creating a plausible portrayal of a real-life crisis. The film has waited patiently for its release for some time now, just like its protagonist is perpetually waiting for water. The irony is not lost on us. But now that the film is here, the makers can finally hope for a happy ending.