Manjule's signature use of locale, as seen in Sairat, and his use of background music is already in development in this movie. One can see the resonance of Sairat in this story yet this simply told story is far cry from the drama of Sairat. However, rural living is made of silences, where a fair or even a rattling tractor can stir up the ambience. Noise is such a major component of urban living, where most movies are made, that it seeps into our movies too. What Manjule also manages to capture is the silence of the rural parts of India. (Passing thought: These indigenous languages, some of which have been carried on simply through an oral tradition, must be preserved.)Īs difficult as it is to make an unsubtle in-your-face movie as one can make, Manjule chooses the poet's path and let's his imagery do half the work for him. The word 'Fandry' means pig in the Kaikadi language. Although the movie is in Marathi, the Kaikadi language is spoken in some parts. Jhabya (Jambhuvant,) the protagonist, belongs to the Kaikadi caste, and falls in love with an upper caste girl, Shalu. Fandry is story a Dalit boy probably twelve or so of age and his discovery about his position in his world through his first experience of love. Moving to urban centres like Mumbai and Pune allowed him to gain a more objective perspective on these issues. If you have watched Manjule's interview his background is a preoccupation for him. I want to talk about his second movie, Fandry, which is a longer film and hence gives the director much time to explore his themes.

But much before this commercial success Manjule was a widely known name for people who follow off-beat, non-mainstream movies, due to his National Film Award winning short film Pistulya.

Sairat was a blockbuster movie made by Director Nagraj Manjule.

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