Guy meets girl. They fall in love. Girl’s father opposes the alliance. Guy wins her over. How different can a plot this archaic be translated into an engaging film? Watch ‘Karsandas Pay and Use’ to know. The title here is justified by the fact that the public toilet was christened after the name of a local politician.
Well, I was told there was a double entendre there in its title but let’s not get there, as the film’s director, Krishnadev Yagnik, too, refrains from the indulgence of toilet humour in his film. ‘Karsandas Pay and Use’ effortlessly replaces toilet humour with dark humour, a rare feat to achieve.
An actor with brilliant screen presence, Mayur Chauhan, who had earlier essayed a brief role in Krishnadev Yagnik’s previous blockbuster, ‘Chello Divas’ (The highest grossing Gujarati film), as a Saurashtra accented tea vendor. This time around, he plays Tilok, the caretaker of a public toilet who makes a living by helping people answer the nature’s call. The actor uses the Saurashtra dialect to his character’s advantage. Never does the accent feel forced or fake.
As an audience, you are convinced that Mayur Chauhan speaks the same way. More than the accent, it’s the actor’s ability to emote in front of the camera and sink his teeth into the character that makes him believable. In fact, the character is so well-written, you can’t resist rooting for him, even if the means he chooses to meet the ends aren’t morally correct.
Deeksha Joshi, in a role far different from her previous outing, ‘Shubh Aarambh’, where she portrayed the role of a confident and independent urban girl, essays the role of Jaya, a housemaid, with such conviction that there isn’t a trace of the urban girl you’d seen before. The house that she inhabits is a complete mess, replete with four (plus one, I guess) sisters, and a ruthless father, Chinubha (Chetan Daiya, a terrific actor), who drives an autorickshaw, when not busy impregnating his wife, hoping against hope for a male child.
The other actor who makes his presence felt is Hemang Shah, who plays Sundar, the brother of Tilok. The chemistry between these brothers is far effective than the one shared by the lead characters, i.e. Tilok and Jaya. Barring a scene on the terrace, where Jaya and Tilok meet, the other ‘romantic’ scenes are shot in slo-mo peppered by a reggae leitmotif becomes too repetitive after a certain point of time. The special touches like onion peels replacing rose petals and the ‘Vikram Rathod’ (He also plays a cameo here) scene are worth an applause.
The ‘mohalla ruckus’ has been given an authentic feel in ‘Karsandas Pay and Use’, where the director recreates the tension to perfection, making you believe that you are in the middle of the action. Brief characters like swachhta karmchaari kaka and an over-enthusiastic news reporter are sure to leave you in splits. The highpoint of this film is surely the faceoff between Tilok and Chinubha, ably supported by Jay Bhatt, the benign Pani-Puri vendor (An actor worth a mention here).
Well, to sum it up, ‘Kasandas Pay and Use’ is a departure from those multiple ‘Urban Gujarati Films’ churned out after the success of ‘Kevi Rite Jaish’, ‘Bey Yaar’, ‘Chello Divas’, and ‘Wrong Side Raju’. This film has many sub-texts to it, which I’d better leave on you to discover. ‘Karsandas Pay and Use’ is sure to appeal both urban as well as rural populace, especially because of its authentic rustic treatment. Despite being shot in Vadodara, the film thankfully distances itself from those mandatory Laxmi Vilas Palace or Bird Circle shots.
A film on such topic would have been replete with toilet humour, but director Krishnadev Yagnik ensures that you root for Tilok till the end credits roll. Hope other filmmakers take a leaf from this film and think beyond ‘jugaadu friends helping the hero woo his girl’, ‘bootleggers and terrace daaru parties’, ‘American dreams’, and ‘Patang restaurant shots’. Gujarati cinema surely deserves better and this might just be the beginning. ‘Karsandas Pay and Use’ offers Gujarati cinema the much-needed relief from the stereotypes. After all, there are miles of ‘Sairat’ to go before we sleep…