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Jhund’s stock price has remained on the downward side despite the addition of 1 crore* in new money on Wednesday. While Friday’s performance was disappointingly poor at 1.50 crores, the weekdays have managed to just about keep their heads above water (that too on a relative note if one compares the collections with Friday). The good news is that at least one crore rupees is coming in on each of the weekdays, when the collections might have easily slipped into the 75 lakh rupees range if the trend continued.

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Having said that, the overall revenues are still below expectations, with the six-day totals standing at 10 crores*. I think that the basic minimum figures should’ve been achieved throughout the opening weekend, since the picture would’ve had a better opportunity to break the 20 crore barrier if it had been released on Friday and Saturday. For the time being, though, the film’s first financial milestone will be 15 crores, with any more revenue being considered an extra bonus.

Index of Jhund

With the exception of the entire look and feel, which was far too regionalized, the Amitabh Bachchan starrer might have done considerably better. Furthermore, the film crams much too many things into a three-hour running time, resulting in final effects that aren’t as sharp as one would have expected to see. That will have an impact on the overall collections, which may have been even better given the noble nature of the subject matter, but were not.

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Jhund is the feature film debut of Nagraj Popatrao Manjule, one of India’s most notable anti-caste activists of the current era, who makes his Hindi cinema debut with the film Jhund. ‘Pistulya’, ‘Fandry,’ ‘Sairat,’ ‘Naal’, and some short films such as ‘Pavsacha Nibandh’ and the most recent ‘Vaikunth’, which was included in the Unpaused anthology, are just a few of the films produced by Nagraj Manjule’s ‘Aatpat’ production house that have made significant contributions to Indian cinema. In the Indian cinema industry, Manjule has established himself as a revolutionary filmmaker who tells the stories of historically oppressed parts of society in revolutionary, traditionally subaltern, and yet rising tales. Manjule has produced a reactive mirror for the dominating Savarna storytellers of Bollywood, who are naturally drawn to the victimisation of Dalit testimonials, in the form of the film Jhund. Through the use of an anti-caste aesthetic and a viewpoint that is critical of caste, Manjule challenges caste and other kinds of social inequity, continued discrimination, and hierarchies in Jhund.

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Throughout the film, the filmmaker’s epistemic stance as well as his or her locational reality are prominent. Jhund, a realistic narrative in which he collaborated for the first time with superstar Amitabh Bachchan, who plays the lead character of Prof Vijay Barse, was released in 2013. In Jhund, the storey is based on real-life events, and it is told through the eyes of retired Professor Vijay Barse, a social worker based in Nagpur who founded Slum Soccer, an organisation that helps poor children by teaching them football skills. The narrative ‘A Ball Can Change the World’, by professor Vijay Barse, which aired on Aamir Khan’s Satyamev Jayate seven years ago, caused many people to sit up and take notice.

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“Jhund” is the narrative of how Vijay transforms the lives of downtrodden community children living in an underprivileged slum in Nagpur by providing them with hope through football. Slowly but steadily, the sport improves their lives, drawing them away from criminality, drugs, violence, and police brutality, among other things, and instilling hope in them that they may become better human beings for a better tomorrow. Many of the characters in Jhund will be familiar to viewers from the director’s earlier films, including Pistulya (Suraj Pawar) from Pistulya, Jabya (Somnath Avghade) from Fandry, and Parsha (Akash Thosar), Salim (Arbaz Shaikh), Archi (Rinku Rajguru), and Pradeep (Tanaji Galgunde) from Sairat.

Jhund demonstrates how a neighbourhood in Nagpur’s Gaddi Godam is split into two halves by a single brick wall. On one side, there is a neighbourhood of so-called ‘pure’ civilians, and on the other, there is a neighbourhood of unseen people who are sometimes referred to as ‘Gandagi’ (dirt/filth) of Zopadpatti (Slum). The wall, which represents the caste division, sits between the slum and the rest of the world, separating them. Don (Ankush Masram) and his companions must deal with this on a regular basis, both in the literal and metaphorical sense of the word. There are many ‘raw’ and’real’ amazing sequences in the film, but some of them are so moving that they stand out from the others.

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