“अरे, संसार संसार, जसा तवा चुल्ह्यावर आधी हाताला चटके तेव्हां मिळते भाकर!”
Kaksparsh is a tragic but intense love story, set in Konkan region of Maharashtra during the pre-independence India. The best part of this cinema is the strong story gifted to it by Usha Datar. The customs of the old Brahmin community were cruel, unfair and entangled in this era and in this lies the story of Hari, told to us by a brilliant direction of Mahesh Manjrekar. The movie travels deep within and stings your soul with melancholy.
Kaksparsh is the story of a Brahmin man named Hari (played by Sachin Khedekar). Hari’s little brother Mahadev (Abhijit Kelkar) gets married to a very young girl named Uma (played by Ketaki Mategaonkar[young] and Priya Bapat[adult]). But fate has tragedy written in the very initial chapters of Uma’s marriage. Mahadev dies at the night when he and Uma would be consummating their marriage. According to Hindu rites, the soul of a dead man is said to be at peace when a crow touches the portion of food set out in the name of the deceased. Initially, no crow is ready to touch the food portions kept in Mahadev’s name, which troubles Hari. Only after Hari has murmured something do we see a crow touching the food. What Hari said is not revealed to the audience then and is the base for the further story.
Uma’s life turns upside down after Mahadev’s death. As per the custom prevalent in those days, she is required to shave her hair. When a barber is called to do the same, Hari refuses to let Uma’s hair being shaved, leaving his family members and the society in shock. Their bewilderment slowly turns to disappointment and anger when they realise that he takes decisions considering the interests of Uma, not respecting the rituals. Everyone in the film and even the audience start to feel that Hari has developed feelings for Uma.
Years pass, and Uma still gets a lot many privileges than what widows were allowed in those times, all because of Hari. This preferential treatment given to her pricks in the eyes and hearts of many, especially Hari’s wife, who believes that her husband has fallen in love with Uma. Though later, when she is on her deathbed, she requests Hari to marry Uma, which he refuses. As for Uma, she is confused as to what Hari wants of her. One moment he is affectionate towards her, and the other moment he avoids her. She wants to know the reason behind Hari’s such erratic behaviour. But it is only on her deathbed that Hari discloses the truth and it is tied to the words he murmured when crows were not touching the food kept in Mahadev’s name. All that while ago, he had promised Mahadev to not let any other man touch his wife Uma. After Hari promised this to Mahadev and the crow touched the food (Kaksparsh). Since then, Hari has lived by this promise and rather chose the disdain of villagers than letting a barber touch Uma. But now, with Uma on the deathbed, Hari confesses that he has fallen for her and is ready to marry her and break his vow. He fetches a mangalsutra and comes to Uma’s bed, only to find that Uma is dead. She preferred dying rather than letting Hari break his vow.
The film, as it progresses asks many questions, making one uncomfortable until the very end. The film’s screenplay is utterly splendid, capable to leave one shocked. I personally experienced how the story itself absorbs you in it. Tracing through those old Brahmin households and the detailing like the rituals Brahmin people used to practice, are shown in the movie.
Sachin Khedekar in the role of Hari, a serious family man, having strong principles wins our hearts in the sheer character and accents of a typical Brahmin man. The tension, suffocation, and helplessness of Hari have been splendidly expressed by Khedekar. Ketaki Mategaonkar delivers a notable performance in playing the young and innocent Uma. Priya Bapat, on the other hand, plays the role of an elder Uma, and she deserves a ton of appreciation. She depicts the deep sadness and Uma’s longing for love with intensity.
The lyrics and songs in the movie set the mood and actually highlight the sensitive mood of the movie. Ajeet Reddy’s cinematography is spectacular enough to transport you in the Konkan region. The aesthetics, the clothes, ornaments and many more details in the film brings you back the lives and times of old Brahmin households.
Kaksparsh truthfully depicts hardships faced by Brahmin widows in that era. It asks a very meaningful question of how many hardships can one endure for love? The climax scene is so beautifully written, it never fails to send chills down the spine. Marathi movies have evolved in to be of deeper meaning and culturally rich. Kaksparsh is another Marathi movie the elevates the standards of Maharashtrian cinema.
Written By: Aakash Shete
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