Machan
deals with the pertinent issue of immigration in post-colonial
societies. The inequalities of the world order coerced
into existence by colonization remain unchanged, through
economic exploitation of the former colonies. For
the inhabitant of the developing world, also crushed
and betrayed by corrupt, inept governance, the West
is a dream of escape from the entrenched sphere of
misery and deprivation.
In
Machan, a group of desperate slum dwellers believe
an invitation to a handball tournament in Bavaria
to be their one-way ticket to the West and the prosperity
that will solve all their problems. Director Uberto
Pasolini uses the true story of 23 men who, in 2004,
showed up in Germany claiming to be the Sri Lankan
National Handball team. They fooled the German Embassy
by forging signatures, got an invite to the tournament
and boarded the plane with the intention of never
returning.
What's
most striking about Machan is how humour is employed
to add to a discourse dealing with extremely serious
issues. Pasolini is condemning the flawed immigration
policies of the West which propagate a free movement
of financial capital, but are extremely opposed to
similar movement of human capital. Yet, Machan is
never self-consciously serious or preachy, and this
makes the film similar to Alfonso Cuaron's Y Tu Mama
Tambien which dealt with the changing realities of
Mexico through the tale of two hormonally charged
teenagers.
One
of the strengths of Machan is Ruwanthie De Chickera's
well-crafted screenplay. Even the peripheral characters
are etched with caring and empathy, and there is hardly
a line that feels awkward or pretentious. The shooting
of Machan in outdoor locales lends an authenticity
that complements the energy and swift pace of the
narration. The performances of the cast, especially
Dharmapriya Dias (Stanley) and Gihan De Chickera (Manoj),
show a keen understanding of the hopes and aspirations
of the subaltern.
In
one of the early scenes in Machan, a friend warns
Stanley that he will only remain a second-class citizen
in the developed world. He points to his own tattered
clothes and asks, "Is this first class, then?"
Pasolini has made a funny, deeply moving film about
the predicament of those who cannot stay and can never
truly escape.
Vaibhav
Vats
©FIPRESCI 2008
