Manorama Six Feet Under is a movie that operates at various levels of human perceptions. On one hand, it perceives the dissatisfied life of an unsuccessful writer-cum-junior engineer in remote Rajasthan. In the next, it is also about demystifying the angelic aura around the country's middle class and painting them as vulnerable and impressionable human beings.In one of its various phases the movie also exposes the ensuing mid-life crisis in Satyaveer's marriage , surfacing either in the form of a mirage of Yana Gupta in the middle of a desert or the debate over who has to be blamed for an untimely child.
Navdeep Singh's directional debut has dwelled into complex realms of our lives unlike most contemporary Indian cinema.
For once, the "hero" in the movie is a corrupt government official who is serving his suspension period and thankfully not a super human/super honest undefeatable six pack! (Yes, I am indicating at one of those Khans who tries to bring in a “socialist& sanctimonious” angle to his once-in-a-year movies! )
Satyaveer Singh Randhawa played by Abhay Deol (who has shown a praiseworthy sense in choosing his movies) and his friend the local cop played by the multi talented Vinay Pathak, are characters plucked straight out of our daily lives - ones who so comprehensively epitomises the post modern industrialised nature of human mind - selfish, cunning, corrupt yet caring for his dear and near.
In fact, this is where the movie stands out from the rest of the gutter-clutter we see around us these days. Nobody in the movie has "good" intentions - rather each one of them is blinded badly by their self-centric intents and the movie is only a sequence of their actions and consequences.
The scene of a lone surviving gold fish (Sakuntala) in the aquarium feasting on her weaker counterparts floating dead on the surface is a piece of cinematic brilliance. It is contextual because it is shown soon after the scene where the minister reminds Rizvi of his “ordinary" existence and therefore symbolises the good old survival theory of strong eating weak, thereby pointing out the power inequities in modern India. In the words of the minister himself, the country is divided into two sets of people - one that runs the country, and the other bunch that run/walk/dance at the whim of the former.
What is also commendable about the movie is about how the team has distanced itself from the conventional methods of story-telling/movie-writing. As viewers, we all grew up watching our "common man" hero (yes, after being pushed to his limits) emerging back strongly and bashing up those gory villains on screen, sometimes to make "bindis” out of their blood and sometimes to feed them to rats or vultures. That is because we like to see our villains dying painfully in the end, which nevertheless should be inflicted upon them by our "morally righteous" hero with his bullet or knife depending on the budget.
Thankfully Navdeep has managed to deviate from that formula as well and has brilliantly wound up a complex saga of human travesty, inquisitiveness and perversion by giving the movie the most original and plausible finish. Manorama Six Feet Under is undoubtedly one of the best movies I have ever seen. An intelligent screenplay by Abhinav Kashyap - Devika Bhagat -duo, supported throughout ably by Arvind Kannabiran who has captured the dry landscapes incredibly well creating a solid visual context for the story. It’s difficult believe that Navdeep could create a masterpiece like this on his debut and even though it’s loosely based on the old classic “China Town” Navdeep can still be credited for coming up with the most credible and original re-creation of that theme.



