Fandry, the teacher is teaching in class about

Fandry, (which literally means pig) is centered around a Dalit boy (Jabya) who is love with an ‘upper caste’ girl in a village in Maharashtra. The movie comments upon the caste system that still exists in our country. In a time where the world is connected via facebook and India has reached greater heights, the country is still practising untouchability, which was also depicted in ‘India Untouched’ a movie which focuses on untouchability which is still prevalent in the society and depicts how it has become a continuous system. Its an interesting attack on India’s banned but still nagging caste system. Directed and written by Nagraj Manjule, Fandry focuses how love has no boundaries, be it caste itself. Jabya’s family does all kind of work in the village in order to survive which includes catching pigs and Jabya is ashamed about the same thing. He clearly sees how differently his family is treated just because of the caste they belong to. The boy shows interest in going to school everyday but his family does not let him and prefer to send him to the field and earn some extra money. The family is under pressure when they have pay the dowry for Jabya’s system. Amidst the poverty and discrimination Kacharu (Jabya’s Father) is unable to see his sons dreams. Jabya is furiated with how his family is treated by the entire village and even his own classmates at various instances. He, most of time was referred / identified by his caste and not by his name. The movie in its fine way build up how Jabya is embarrassed and reluctant to work like his parents, he is smitten by Shalu (the upper caste girl) and is conscious of his own identity , his complexion and his poverty. The feature is a reflection of India, which is still obsessed with caste and religion. It offers a real picture of live in rural Maharashtra, Jabya irons his clothes with base of a hot glass and the family goes out to collect woods to weave baskets. Poverty is something that has been also been explored in the film. Fandry, often indulges in irony and symbols, for example when the teacher is teaching in class about the Dalit poet, there seem to be a disconnect about what is being taught in the school and what is actually practised. The school teaches them about Dalit poetry but does not allow them to make connection about the same in their everyday life. Apart from class struggles and discrimination, teenage misery and belief in superstition is evident in storyline, Jabya wanders in the wood in search of the black sparrow so as to get Shalu to love him. It’s about coming to terms with your own self and how you’re willing to do anything for love in your teenage years, Jabya is daydreaming about her and also following her in various scenes which is problematic but is the ugly truth. During the entire picturisation, Shalu had made no attempts to even look at Jabya, but the protagonists is deeply in love with her, dreams of buying clothes that are flashy so that he could look ‘cool’ and impress her. He even writes a letter to her confessing his love but with such strong barriers in the village he wouldn’t be able to approach her. The movie clearly portrays how women still have no voice in decision making. Be it their life decisions. Visible in scenes where the Jabya’s sister is presented in front of the groom’s family and his mother or the bride itself is given no power in deciding whether the guy or family is perfect or not. The marriage is fixed when the groom-to-be says yes and no further questions are asked. The mother is a little depressed because of the dowry matter but isn’t given a chance to speak up. Another instance of women being powerless is how Shalu in the entire movie is not given a chance to decide if she like/ loves Jabya. Jabya prays that the ashes would do wonders and Shalu would yes to him. He has never talked to her but dreams of how they would be after the ashes do their ‘magic’. Harshness of the world  interrupts the simplicity of adolescence in the movie. One of the scene which captures the same in when the entire family is out hunting for the pigs and Jabya and his father are very close to catching one but then the national anthem from the school starts to play and both of them have to stand motionless and the pig is able to move around. The concept of choice come in here, how Jabya did not choose to be an untouchable, just like how we do not choose to stand before beginning of every movie. Jabya’s father if frustrated and helpless and I think so are we.  The film clearly captures how individuals are always guided by the society and aren’t allowed to make independent decisions. Jabya, wanted to be free of his identity but his own family and the castes in the hierarchy would not let him be free. Strong example here is of his father who wanted him to continue the tradition and not engage in meaningless activities. Whereas he easily could have been supportive of him indulging in some other occupation or activity since he was going to a good school, but the entire family is against him getting educated. The notion of power play was also visible, not between the the gender but also between the men of the upper caste and the lower caste and how easily the men of the higher caste exploited Jabya’s father and made him do all the activities that they considered dirty. The film has so many emotions attached to it, the story clearly shows the real image of the caste system, the experience of marginalisation, someone who is willing to come out of the cycle of discrimination and makes a stronger point by picturizing the pig catching scene against the backdrop of wall painting of Dr. Ambedkar, Jyotiba Phule and other who’ve voiced against the social evil.