The dichotomy of love

Anurag Kashyap, widely acclaimed as a curator of realistic raw films has always used elements that go beyond the obvious.  His cinema is not for everyone to consume and appreciate. Often labelled too harsh and dark,  Kashyap brings to mainstream cinema the lesser talked about things.

In his last theatrical release Manmarziyan he brings to the screen a new unique idea. An idea that most cine-goers will perhaps not understand. Not the first time they see it. 

The movie is of a fiery Amritsar girl,  Rumi who's madly in love with Vicky,  an aspiring musician with punk and passion. But as destiny would have it Rumi isn't to be with Vicky. Instead she's tied down in a marriage to a foreign return Robbie. While Rumi and Vicky are devastated, Robbie develops a fondness for his bride.  In all this, Kashyap places twin dancers in the forefront. Directly dancing to the camera. 

It makes little sense, perhaps it's mere entertainment. The Wasseypur director, however, isn't as shallow. He uses the twins to portray the confusion that Rumi ensues. The dancing twins are the physical form of her indecisiveness. She is still with Vicky in mind, body and soul but Robbie has a lurking presence.  

And rumi isn't the only one who's confused. While Robbie and Rumi begin their journey in the Himalayas, kashmiri male twins make an appearance. This time we are shown the duality of Robbie. Fully aware of his wife's love for Vicky, he wants to keep her but for his liking for her, he's ready to let go.  He is as torn as Rumi. 

In the closing scenes as Vicky and Rumi share their last moments,  the duality of all three seems to be ending.  Rumi is changed, she has grown, but true Rumi is lost. The two Rumis compared, makes what is lost saddening. 

Manmarziyan is a just portrayal of duality,  confusion and trouble that passion, love and peace bring along. It is the dichotomy of growing, evolving humans capable of learning and unlearning to love several times. 


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