If you have lived anywhere in Uttar Pradesh, Maharashtra and even Delhi, chances are someone has thrown the word migration around, often as the root cause of an array of issues, be it rising violence, loss of culture, ruin of space and now even stampedes. Thousands of nameless individuals cross state borders around the world in search of food and shelter, often woven in the ambit of an occupation. Migration is a hot cake in today’s political discourse with a volley of nationalistic ambitions that threaten to close borders to nationals of other countries. But immigration and migration are not the center of my tirade. It is a gem of a movie called Liar’s dice.
You might not have heard of it- such gems are often lost in the dirt and squalor of the backyard of Indian cinema because it gets no endorsement or appraisal from celebrities. Surprisingly, this movie, written and directed by Geetu Mohandas received national awards but did not see the light of the day through a theatrical release. I wouldn’t want to spoil the movie for you, which is a journey of a woman who sets out against all odds, with her daughter (and her goat), to look for her husband, who left to work at a construction site. Starring Geetanjali Thapa and Nawazuddin Siddiqui, the cinematography blew me away. From the picturesque Shimla hills to the narrow stifling lanes of Delhi, the thematic essence is maintained throughout. The protagonist’s inner turmoil is palpable onscreen as slivers of emotions rupture your metropolis bubble of safety and bring to you the ugly face of oblivion.
Nawazuddin Siddiqui has time and again established himself as an actor beyond the narrow confines of mainstream cinema and that is his strength. The scheming crowd entertainer Nawaz is a shifty character and the movie derives its title from the game he plays to fleece the crowd. The title would obviously have several connotations – from helping Kamala (Thapa) out while lying to her, to Kamala risking everything on fate when she decides to travel with Nawaz, Liar’s Dice symbolizes a gamble for the forlorn woman. From a scheming vagabond to a considerate companion, Nawaz’s performance is a perfect complement to Thapa’s anguish and fear. Her construction worker husband’s name is a symbol – a unit which represents the mass of faceless nameless individuals who feature as mere statistics in the scheme of things.
While it is hard to portray the ugly truth behind the construction industry’s migration business wherein thousands of workers are brought in from far-flung areas and made to work in dangerous conditions, the director and the cinematographer Rajeev Ravi have managed to give us a glimpse into the characters’ lives and through them, the mystic gaping hole of namelessness, and to that end, of the importance of any one individual in this urban squalor.