spit: Adil Hussain, David Siam, Aiden Iwan Dengoh, Dehukhlang Basyaumwit, Eliezer Parh
Director: Wanfrang Dingdu
evaluation: Three and a half stars (out of 5)
Shillong has no secrets, declares one of the main characters of Wanphrang K. Diengdoh Lorne – Flannur. But the quaint little hill town, as we see it in the Khasi language film streaming on SonyLIV, is a veritable set of mysteries, a mixture of myth and tale on the one hand, and misleading earthly facts of the present on the other.
The script, meditative rhythm and observation of the narration – the Shillong-based director is also the film’s writer and editor – combine to impart a mysterious and deceptive quality (in terms of subject matter and structural externalities) to the person who suffers from mystery. her way through an impressive array of moods and moments.
Apparent, Lorne – Flannur It is about investigating a series of robberies that hit Shillong. But he also woven into the plot the larger story of a culture caught between past and present, between the unbroken grip of tradition and the consequences of small-town anxiety caused by the footprints of a rapidly expanding modernity. The mundane and the magical, the mundane and the sublime coexist within the imaginary record, which is about what is lost and what can be saved and saved, and in the real, identifiable physical spaces.
Amid growing internal tensions fueled by mistrust between indigenous tribal people and non-tribal aliens, the character and politics are played against each other in a story that seeks to capture the changing dynamics that drive the lives of disparate individuals and define the evolution of a place that struggles with rapid and often disturbing change.
The fears, doubts and doubts plaguing the city and its residents were articulated to perfection by lead actor Adel Hussain. In his first film Khasi, he wears a special eye who has a strong sense of the sites and alleys of Shillong but struggles with land allocation.
Hussain slips into the skin and soul of a wide-eyed tramp with complete ease and defines a man’s inner world with unwavering precision and solidity.
Aside from a group of local actors, many of whom are beginners but all quite at ease with the world they live in, Hussain shares screen space with Shillong. The city is not just a place where the story unfolds. It assumes entire personality dimensions that gradually reveal their shifting shades and nuances to affect the fortunes of the men and women who Lorne – Flannur.
While going through the motions of postponing his time, drinking tea, playing cards, or just silently observing people, Esther (Dwight Sim), temporarily returning to her hometown, is alerted to a burglary in the bungalow of her widowed mother Dolores (Yonda Marpanyang). ). Shem pretends he has little time to spare, but without having to convince him, he accepts the job to investigate the theft.
An antique coral necklace has disappeared and Dolores believes Shem is the only man in Shillong who can figure out who is behind the theft. Reason: Nobody knows Shillong as well as he does. But the issue is not as simple as it appears at first glance. More burglaries ensue and things take a very complicated, even dangerous, turn for Shem.
In the course of one of his increasingly acrimonious encounters with Esther in a bar where women are not allowed in – the lady wears a hat to hide her gender – Shem says he doesn’t like surprises. “I like things to be tacky, just like Shillong,” he adds in English, the language the two always communicate. Between the choppy and the deep lies a blurry space that the film negotiates as it pushes the story forward and, in the process, offers insight into the city, its residents, and their cultural mores.
On a personal note, the detective has to deal with the lingering fallout of a tragedy hinted at in the film’s opening sequence but not fully revealed until much later. Esther, too, has her own set of problems to reckon with in a town where, as she herself says to Shem, “everyone knows everyone else.” But is this really true?
A handful of young men who frequent a watering hole across the street from Shem’s house–among them a quirky local journalist (Lumbur Mausar), a repository of a great deal of information–cling to everything from a mythical beast at large. For Cristiano Ronaldo’s unparalleled skills, the Khasi folklore allure of the work that one of the men, Guy (Elizer Barren), does to photograph the people and places here.
Shem roams the small town on his motorbike or on foot, scouring its nooks and crannies in search of clues that could help him catch the knot thief and restore the trust Esther’s mother placed in him. His struggles to justify his existence and his importance as an investigator remain forever under a cloud, but he makes a point not to allow that not only is the work not easy to achieve, nor is it any closer to resolving the case than it was when it began.
The theft of the article of great cultural value that proceeded from Shim’s investigation indicates what happens to the city and its inimitable spirit in the larger context of its roots and distinctive features, and in connection with its proverbs and songs (the film is distinguished by its proverbs and songs). A sequel to locally produced music on the soundtrack).
Like the city itself, every character around Shem has stories to tell. The bumbling journalist is an endless source. An artist and folklorist, the writer’s drinking companions, contribute their expedition to the experimental tapestry of the curious and confusing that Lorne – Flannur Adds up to.
Filmmaking an offbeat character who navigates clichés they often stray from, Lorne – Flannur It’s as worth watching for Adel Hussein’s master classes at her heart as it is for the one-of-a-kind series that revive a city shrouded in mist.