Assamese filmmaker Himjyoti Talukdar’s sophomore feature, Taarikh, is a languidly paced, meditative drama about an old man who refuses to accept reality. The film is an effective and closely observed psychological portrait of how denial and resistance to change influence and define human experiences.
Durlov Dutta (Arun Nath) is a 70-year-old retired man living in Guwahati. He lost his son in a bomb blast in 2008, which deeply destabilized his mental well-being. He continues to visit the police station, submitting applications addressed to the then Chief Minister as he clings to the hope of getting justice. Durlov is cared for by his household help, Radha (Swagata Bharali), and her husband, Basanta (Kula Kuldip), a mechanic by profession. Anuran Hazarika (Boloram Das), a journalist working for a news channel that prioritizes entertainment over politically active news, learns about Durlov’s condition. As Anuran delves deeper into the old man’s troubled life, he discovers that the septuagenarian is suffering from post-traumatic stress disorder (PTSD) and resolves to help him.
Taarikh is profoundly humane, making it an emotionally resonant and enriching experience. In capturing the essence of human fragility and resilience, the narrative touchingly explores the search for connection amid the city’s vibrant yet alienating chaos. The focus is on quieter character moments, excelling in mood and ambience. Radha and Basanta’s selfless care for Durlov, without any ulterior motives, and Anuran’s relentless efforts to help the old man, devoid of any personal vendetta, explore the innate human need for meaningful relationships and a sense of belonging. Throughout the film, Durlov does not utter a single line of dialogue, a creative choice that underscores his isolation and deepens our engagement with his silent struggle.
Neither the screenplay, written by Himjyoti Talukdar, Ankur Deka, and Adhiraj Kashyap, nor the direction indulges in unnecessary sentimentalism. Grimly adhering to the stark realities of the protagonist’s bleak existence, the film refrains from painting him as a caricature or a victim to be pitied, presenting him instead as a man coping with his situation with an unyielding yet tenuous resolve. There is a palpable sense of tragedy in his daily ritual of leaving his home each morning and wandering the streets haunted by a horrific memory. The film affords respect and dignity to the helpless old man, who, unaware of his condition, struggles to make sense of his reality.
Though the film stays true to its primary goal of delivering a deep, thorough, and thought-provoking character study drama, there are a few aspects where it misses an emotional beat. Durlov’s meandering search for the whereabouts of his missing son could have been given more gravitas. Similarly, Anuran’s sympathetic attachment to Durlov’s condition needed stronger grounding and a more compelling reason to make his motivations feel more authentic and believable. The climax sequence and the song showcasing the bond between Durlov and his son through flashbacks both come across as melodramatic and out of sync with the treatment of the rest of the film. These moments detract from the overall subtlety and realism of the film.
Arun Nath brings quiet strength to his character, his silent expressions working well to convey the depth of his sorrow and unresolved anguish. Boloram Das skillfully combines steely resolve with genuine kindness, perfectly embodying his unwavering determination to assist an elderly man suffering from trauma. Swagata Bharali brings Radha to life with simplicity and sincerity, infusing the role with warmth and benevolence. Kula Kuldip, as Radha’s husband, delivers a solid performance, effectively complementing the ensemble cast.
The cinematography by Aniruddha Barua is minimalist, relying on plenty of close-ups of the characters’ facial features to enhance the film’s intimate and personal feel. Uddipata Kumar Bhattacharyya’s editing maintains the film’s gentle pace while preserving its tone, mood, and intensity, ensuring a cohesive viewing experience. Debajit Gayan’s sound design skillfully complements the overall atmosphere of the film.
If one has to compare, Taarikh lacks the small-town, intimate feel of Talukdar’s previous work, Calendar (2018), where the emotional strength of the central characters and the plot-driven narrative is much stronger. But Taarikh excels in its own right by presenting a raw, honest and poignant narrative that avoids pandering to the gallery, and that is its biggest strength.
Taarikh is all set to have its world premiere at the latest edition of the Chennai International Film Festival, being held from the 12th to the 19th of December, 2024.
Assamese, Drama, Color