“Pabar” Proves That Content Indeed is “Pabarful”
In Odisha, the tradition of films releasing during the Raja festival always generates significant buzz. Ollywood fans eagerly await the Raja line-up every year, and this year was no different. Among the three films that competed this Raja, one film stands out: Babushan Mohanty’s “Pabar.” Directed by Ashok Pati, this political satire breathes new life into the otherwise dry state of Odia films. Following the success of films like DaMan and Pratikhya, audience expectations have soared, showcasing the potential of Odia cinema and regional storytelling. Films failing to meet these elevated standards or at least attempting to do so are now seen as a regression. Thankfully, “Pabar” makes a great attempt. Its theme is unique, diverging from the typical happy and romantic films that usually premiere during Raja. It's a bold and refreshing choice.
"Pabar" distinguishes itself from the usual fare in Odia cinema, often marred by misogynistic tropes and formulaic commercialism that flatter male protagonists. The decision to create a political satire during a period of intense electoral activity in India was a smart move, providing a compelling premise that the first half of the film exploits effectively. The performances of Babushan and Elina are noteworthy, offering a level of conviction that might surprise those unfamiliar with Odia films, where melodrama often takes centre stage. The cast and crew include many familiar faces from the critically acclaimed web series “Gangs of Puri.” Krishna Kar as Suresh Panda captivates audiences with his hilarious yet terrifying portrayal of a die-hard 'Jatra' fan, giving him the moniker, ‘Jatra Panda’. His character remains compelling from start to finish. Benta’s (Babushan) best friends, Gedu (Bhakti) and Tudu (Bapi), deliver perfectly timed comic relief, keeping the audience engaged. Udit Guru as Nilamani is also notable, bringing depth to his role. While the supporting characters exhibit some theatricality, they do justice to their roles.
Ashok Pati, previously known for his traditional Ollywood style direction, knee-deep in commercialism and theatrics, surprises with this film. Special commendation goes to writers Amit Kumar Dash and Pranab Prasanna Rath for infusing progressive ideologies into this content-rich film. The decision to depict Benta fleeing from Suresh Panda and his goons is far more realistic than the typical hero-singlehandedly-defeats-multiple-villains trope. The film also addresses the theme of casteism in Odisha, a novel topic in Ollywood. The "item" number "Laal Taha Taha" stands out for avoiding the usual sexualization and vulgarity often associated with such sequences, presenting Elina in a tasteful manner.
The thoughtful music direction by Gaurav Anand and his team enhances the narrative, never feeling superfluous. The title song “Pabarful,” sung by Anurag Das and written by Bapu Goswami, is evocative, reminiscent of “Dhemsa” from DaMan, also beautifully performed by Das. Two songs that have resonated with audiences are “Naali Saadhi” and “Akha Diaan.” These romantic numbers, penned by JP Wordsmith, deserve special mention for their emotional resonance and lyrical quality. The metaphors he uses like “Kansari ghara para” are relatable to the general Odia mass as they are rooted in regionalism.
However, the film loses some momentum in the second half, becoming somewhat draggy and failing to deliver a completely satisfying conclusion. Despite these flaws, "Pabar" remains an enjoyable and significant contribution to Odia cinema. The film has demonstrated that quality content is the key to drawing audiences to theatres. As “Pabar” enters its third week, it has already garnered an impressive collection of 1.7 crores. We wish the film continued success and hope it sets a new benchmark for Odia cinema.
