Bazaar, as the title suggests, depicts a market, just that this market takes place in the homes of poor Hyderabadi Muslim families unable to afford a decent marriage for their young daughters. As a resort, if they're lucky enough to have pretty enough girls, they force them into marriage in exchange for money. Indeed, this film tackles the harrowing practice of bride shopping, and it is absolutely disgusting. Smita Patil plays a woman who was once sold herself, just not into marriage but a physical relationship. Such is the lot of women in these primitive regions. Now living in the big city, she does what may help her secure a marriage with her live-in partner - find a good bride back in her village for the man who sponsors her fiance and their housing.
The film explores brutal realities, and it does so with pathos and conviction, although at times something is missing. Bazaar is what they call an art film, but it is a little less 'artsy' than other so-called parallel films. On the one hand, it is charged with an engaging atmosphere of authenticity, with limited background score, realistic cinematography and a setting that feels very much real nad lifelike. On the other, it's a little melodramatic, it has the occasional use of certain mainstream ingredients, and it has music (although not many songs). And speaking of music, one has to stop for a second to just express how beautiful it is. The legendary Khayyam is responsible for this magic, which culminates in "Dikhayee Diye Yun", a stupendous, melodious number.
The acting is mostly good. Smita Patil leads the cast with an emotional performance as a woman lost in her own troubled world, conflicted about her past, present, and the consequences of the callous actions she took for her own survival. In one scene she speaks on the phone by the cupboard and throws a casual glance in the mirror in it to fix her hair. This is how detailed her acting was. Cast opposite her in a rather unexpected casting choice is Bharat Kapoor, who is just about okay. Also here and seemingly sidelined with a secondary role of a mere spectator is Naseeruddin Shah, who gives it meaning and relevance in a deeply effective and understated performance, doing much with his eyes and sometimes just his presence alone.
The film has many character actors, among whom Sulabha Deshpande is credible as the mother who sells her daughter. Also hateful for his role but very weak in his performance is B. L. Chopra as the buyer. Shaukat Kaifi is successfully unsympathetic just as she was in Umrao Jaan (and it's quite amazing how much her daughter Shabana Azmi has come to resemble her these days). Farooq Sheikh is plain excellent as the kind, heartbroken guy whose beloved is taken away from him. And last but certainly not least, the amazingly pretty Supriya Pathak utterly steals the show in a believably raw performance as the bride for sale. Bazaar, although interesting, is not perfect, but it is her portrayal which gives the film its heartbreaking, disturbing tone.
The film explores brutal realities, and it does so with pathos and conviction, although at times something is missing. Bazaar is what they call an art film, but it is a little less 'artsy' than other so-called parallel films. On the one hand, it is charged with an engaging atmosphere of authenticity, with limited background score, realistic cinematography and a setting that feels very much real nad lifelike. On the other, it's a little melodramatic, it has the occasional use of certain mainstream ingredients, and it has music (although not many songs). And speaking of music, one has to stop for a second to just express how beautiful it is. The legendary Khayyam is responsible for this magic, which culminates in "Dikhayee Diye Yun", a stupendous, melodious number.
The acting is mostly good. Smita Patil leads the cast with an emotional performance as a woman lost in her own troubled world, conflicted about her past, present, and the consequences of the callous actions she took for her own survival. In one scene she speaks on the phone by the cupboard and throws a casual glance in the mirror in it to fix her hair. This is how detailed her acting was. Cast opposite her in a rather unexpected casting choice is Bharat Kapoor, who is just about okay. Also here and seemingly sidelined with a secondary role of a mere spectator is Naseeruddin Shah, who gives it meaning and relevance in a deeply effective and understated performance, doing much with his eyes and sometimes just his presence alone.
The film has many character actors, among whom Sulabha Deshpande is credible as the mother who sells her daughter. Also hateful for his role but very weak in his performance is B. L. Chopra as the buyer. Shaukat Kaifi is successfully unsympathetic just as she was in Umrao Jaan (and it's quite amazing how much her daughter Shabana Azmi has come to resemble her these days). Farooq Sheikh is plain excellent as the kind, heartbroken guy whose beloved is taken away from him. And last but certainly not least, the amazingly pretty Supriya Pathak utterly steals the show in a believably raw performance as the bride for sale. Bazaar, although interesting, is not perfect, but it is her portrayal which gives the film its heartbreaking, disturbing tone.
