The essence of anthology films like “Lantrani” lies in their ability to compile multiple narratives into a single cinematic journey, offering a variety of themes, characters, and stories. During the pandemic, this format surged in popularity as viewers, confined to their homes, craved diverse storytelling experiences that could fit into their fragmented schedules and varied moods. Anthologies became a perfect fit, providing short, impactful narratives that could be consumed in a single sitting or parts, according to the viewer’s convenience.
Video taken ZEE5
The dual nature of anthology films is their strength and Achilles’ heel. On the one hand, they offer an array of storytelling, allowing audiences the liberty to kip segments that don’t appeal to them without abandoning the film entirely. This flexibility is a significant advantage in an era of diminishing attention spans and overwhelming content vying for viewer attention.
Each segment of an anthology can stand on its own, making it possible for viewers to curate their viewing experience to some extent.
On the other hand, the variability in the quality of the segments within a single anthology can lead to a sense of inconsistency and dissatisfaction. When viewers are presented with a collection that mixes high-quality stories with less compelling ones, it can feel like a betrayal of their time and trust, primarily if the anthology was marketed as a consistently engaging experience.
This disparity can dilute the overall impact of the anthology, leaving viewers with a mixed feeling about the film as a whole.
“Lantrani” is a noteworthy entry in the anthology genre for several reasons. Firstly, its low buzz and understated presentation might not initially grab the attention of a broad audience.
This quiet introduction can be deceptive, leading potential viewers to overlook it amidst flashier options. However, this film distinguishes itself through the simplicity and realism of its storytelling.
The stories within “Lantrani” are grounded in everyday realities, eschewing the sensationalism or heavy-handedness that can sometimes plague narrative films. This approach resonates deeply with viewers looking for genuine human stories and nuanced explorations of social themes.
The film’s strength lies in its ability to engage the audience with its authenticity and the relatable nature of its narratives. By focusing on realistic scenarios and characters, “Lantrani” offers a refreshing departure from formulaic or fantastical storytelling, appealing to viewers seeking a more substantive cinematic experience. This focus on simplicity and realism makes “Lantrani” worthy of attention and time.
It serves as a reminder that sometimes, the most profound stories are told through the lens of everyday life, offering insights and reflections that resonate on a personal level.
In summary, “Lantrani” exemplifies the best aspects of anthology films by providing a curated collection of simple and realistic stories. It challenges the viewer to engage with its narratives on a deeper level, rewarding them with a rich, varied cinematic experience that stands out in the crowded landscape of contemporary film.
“Lantrani,” an anthology film crafted by Durgesh Singh, known for his work on “Gullak,” delves into the fabric of the commoner’s life, presenting narratives that are as close to reality as possible.
By choosing to focus on the daily struggles, achievements, and moral dilemmas of ordinary people, Singh brings to the fore stories that resonate deeply with a wide audience.
The anthology format allows for a diverse exploration of themes related to the common man’s existence, encapsulating the essence of everyday life through three distinct yet interconnected stories.
The first story, “Hud Hud Dabangg,” features Johnny Lever as an underachieving policeman whose mundane life takes a dramatic turn when he’s unexpectedly tasked with significant responsibility.
This narrative explores themes of duty, valor, and self-discovery, set against the backdrop of a day that could redefine the protagonist’s life.
The inclusion of a criminal character, played by Jisshu Sengupta, adds depth to the story, examining the complex dynamics between law enforcement and those on the other side of the law.
This story probes into whether extraordinary circumstances can bring out the best in an individual and whether an underdog can rise to the occasion when it matters most.
The second film, “Sanitized Samachar,” shifts gears to satire, offering a critical yet humorous look at the world of media. Led by Boloram Das, this segment portrays a group of news channel employees desperate to save their jobs and their channel amid the pandemic-induced chaos. This story reflects the broader societal theme of survival and the lengths to which individuals will go to secure their livelihoods, even if it means compromising on ethics or resorting to sensationalism. The narrative serves as a commentary on the current state of media and the pressures faced by journalists and media houses in a rapidly changing world.
Both stories, in their unique ways, highlight the resilience, ingenuity, and moral quandaries faced by the common man. “Hud Hud Dabangg” and “Sanitized Samachar” together offer a nuanced exploration of the human condition, encapsulating the struggles, triumphs, and ethical dilemmas of everyday life. Singh’s anthology does not shy away from portraying the flaws and virtues of its characters, presenting a mirror to society and encouraging viewers to reflect on their own lives and choices.
By focusing on the common man, “Lantrani” achieves a universal appeal, reminding viewers of the shared humanity that binds us all, despite our varied circumstances and backgrounds. Through these stories, Singh invites audiences to engage with the narratives on a personal level, fostering empathy and understanding for the characters’ predicaments and, by extension, for those around us navigating similar challenges in the real world.
“Lantrani” is an anthology film that delves into the intricacies of the human condition through the lens of the common man’s experiences, crafted with care by Durgesh Singh. Each story within the anthology is meticulously designed to explore the varied dimensions of daily life, focusing on the struggles, achievements, and moral dilemmas that ordinary people face.
This thematic choice not only allows for a rich tapestry of narratives but also establishes a deep connection with the audience, who may see reflections of their own lives in the characters and situations presented.
The anthology kicks off with “Hud Hud Dabangg,” where Johnny Lever plays a role that is a departure from the comedic personas he’s known for. Instead, Lever’s character is an underachieving policeman given an unexpected opportunity to prove his worth. This story serves as a microcosm of the broader themes of duty, valor, and self-discovery.
The addition of Jisshu Sengupta’s character, a criminal, introduces a nuanced exploration of the relationship between law enforcers and lawbreakers, questioning whether extraordinary circumstances can catalyze personal growth and redemption.
Transitioning from action to satire, “Sanitized Samachar” addresses the challenges faced by the media industry through the eyes of a struggling news channel team. This segment cleverly uses humor to critique the desperation and ethical compromises that can arise in the pursuit of job security and success.
It mirrors the pandemic’s impact on the professional world, highlighting the universal struggle to adapt and survive in times of crisis.
Together, these stories paint a vivid picture of resilience and moral complexity. Durgesh Singh’s choice to focus on the common man as the protagonist of each narrative ensures that “Lantrani” resonates on a fundamental level with its audience.
It underscores the shared human experience, reminding viewers of the interconnectedness of our lives, despite the diversity of our backgrounds and circumstances.
By weaving together stories of ordinary individuals facing extraordinary challenges, “Lantrani” encourages viewers to reflect on their values, decisions, and the very fabric of their daily lives. Singh’s anthology is not just a collection of stories but a reflection on society, offering insights into the human spirit’s capacity for courage, adaptability, and ethical decision-making.
Through “Lantrani,” audiences are invited to engage deeply with the narratives, fostering a sense of empathy and understanding that transcends the screen, encouraging a compassionate view of the struggles faced by others in the real world.
The anthology film “Lantrani” stands out for its cohesive storytelling and thematic unity, despite comprising three distinct narratives set in rural India. Each story, directed by a different filmmaker—Kaushik Ganguly with “Hud Hud Dabangg,” Bhaskar Hazarika with “Sanitized Samachar,” and Gurvinder Singh with.
“Dharna Mana Hai”—manages to maintain a consistent tone and treatment. This synchronicity across the stories is noteworthy because it’s not commonly achieved in anthology films, where each segment often bears the distinct stamp of its creator, resulting in a collection that can feel disjointed or uneven. Here, the directors’ ability to weave their tales as if they were chapters of the same book, despite their individual narratives and characters, speaks to a deliberate and concerted effort to align their visions and execution.
This concerted effort enhances the overall cohesiveness of “Lantrani,” making the anthology more impactful as a unified work.
However, the film seems to falter in its musical choices, which is highlighted as a missed opportunity to elevate the viewing experience. Particularly, the song “Jogi” in “Sanitized Samachar” is pointed out as being out of place, suggesting that more thoughtful selection or composition of music could have significantly contributed to the emotional and atmospheric depth of the stories.
Music often plays a critical role in films, especially in anthologies, where it can serve as a thematic or emotional bridge between stories, reinforcing their collective impact.
The title “Lantrani,” which translates to something irrelevant or akin to blabbering in a local dialect, is noted for its ironic brilliance. It cleverly plays on the notion of irrelevance to underscore the significance of the stories being told—each exploring the essence of life’s challenges and the human spirit’s resilience.
The thematic question posed—”Is life about habit or courage?”—resonates through the narratives, compelling the audience to reflect on their own lives and the nature of human endurance and adaptability.
In essence, “Lantrani” is praised for its thematic depth, directorial harmony, and the poignant exploration of life’s fundamental questions through the lens of rural India.
While the anthology might have benefited from a stronger musical score to further unify and enhance its stories, it remains a commendable effort that rightfully demands and deserves the audience’s attention for its beautiful and introspective portrayal of the human condition.
