Indranil Roychowdhury’s Mayar Jonjal (the worldwide title is Particles of Need) opens with the sight of a strong man referred to as Joga da (Joydeep Mukherjee). So highly effective is that this man that he has a manservant standing beside, holding up an umbrella, as he appears to be like at his smartphone and laughs at a video whereas having lunch. So highly effective is Joga da that when a number of folks method him from behind, they achieve this as if approaching a tiger: fearfully, hesitantly, fastidiously. Lastly, a scrawny younger man steps ahead. He’s simply been sprung from jail, and he desires a job. Joga da slaps him. “You’re employed for my syndicate and steal bikes on the facet?” Syndicate. That makes this highly effective man sound much more highly effective — and we expect the story that’s about to unfold will revolve round Joga da. However he’s hardly ever seen once more, and we realise we’re in a narrative in regards to the scrawny man who received slapped: Satya (Sohel Mondol).
Mayar Jonjal is ready within the “weaker” sections of Kolkata: it’s about folks with out financial energy, political energy (lots of the folks we see listed below are migrants), and even the facility to alter their destinies. It’s about Satya. It’s about his on-off lover, Beuti (Chandrayee Ghosh), a intercourse employee initially from Bangladesh. It’s about Chandu (Ritwick Chakraborty), who likes to drink and preserve altering jobs, which fluctuate from working in a plastic manufacturing facility to guarding an ATM. It’s about Soma (Aupee Karim), Chandu’s long-suffering spouse. The actors take us into the innards of those characters with breathtakingly minimalist performances, and the movie — equally minimalistic — relies on two quick tales by Manik Bandopadhyay. The director and co-writer Sugata Sinha select to have these tales (one with Chandu/Soma, the opposite with Satya/Beuti) play out in parallel. There are locations the place both the characters or the “milieus” from every story cross paths, however that is carried out so delicately that (although intentional) it feels as “unintentional” as two automobiles passing one another on a busy avenue.
However we see different intersections, different commonalities. The ladies aren’t afraid of onerous work, and so they aren’t searching for shortcuts. The soft-spoken Soma has had sufficient of Chandu’s aimlessness. She accepts a job as full-time home assist in a flat in a high-end high-rise. The ladies don’t complain, both — nor do they drown in self-pity. (They in all probability don’t have the time.) Beuti’s backstory is heart-rending, however she has made her peace with life. The lads, alternatively, are losers. Satya retains asking Beuti for cash. Chandu’s ego is pricked when he realises Soma will earn greater than he does. “You didn’t really feel like taking my permission?” he asks. In fact, it doesn’t happen to him that this case could by no means have come up had he spent extra time searching for gainful employment than watching soccer matches on the tv set within the native Commie workplace, scattered with purple flags.
Cash is one other connection between the assorted characters. A Bihari colleague tells Chandu that his spouse massages his ft when he will get house, solely as a result of he makes plenty of cash. Chandu decides to see how he can earn greater than Soma. Satya entertains a shady get-rich-quick scheme, proposed by his housemate. However sadly, even this newfound sense of “objective” solely additional underlines what losers these males are. Probably the most beautiful hyperlinks between the 2 narrative threads are essentially the most “invisible” ones: a priest who sanctifies a jail after which goes on to sanctify a whorehouse, or the ragpicker who jogged my memory of the outdated individuals who unified the installments of Krzysztof Kieślowski’s Three Colors trilogy. And essentially the most emotional hyperlinks between the 2 narrative threads hinge on the place Soma and Beuti discover themselves on the finish. Can girls actually get forward if males maintain them again?
In a Western context, you would possibly say sure. Divorce is an choice. As is separation. However have a look at Soma when requested if her desires for her son (an English-medium faculty, taking part in a tv actuality present) are the boy’s desires or hers. Or later, when she is requested about Chandu’s newfound job, and why this could imply she has to contemplate giving up her work. However the way in which Soma sees it, there isn’t any “my son’s desires” and “my desires”. There is no such thing as a “Chandu’s job” and “my job”. And that’s her tragedy. Like many individuals in “weaker” India, she regards the household unit as a collective. Individuality is for the higher courses, for these with energy — and I recalled the primary scene, with Joga da (a person) being approached by that group of males (a collective). All of it comes full circle.