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करार Directed by: Manoj Kotian / Year: 2018

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Manoj G Kotian’s film this film gets a lot of things right from a populist point of view. The structure of the film is like a play, with most things happening indoors and the central drama focussing on three main characters. The screenplay develops smoothly and the stakes get higher as we go deeper in to the plot. At the end however, the film falters. The construct of the film demands a tragic aftermath, but in order to avoid that and conclude with a reasonably happy ending, the film makes some unfortunate choices. this film opens in the present day but almost immediately dials back to the eighties, narrating the story of insurance agentturned- businessman Sunil Mokashi (Bhave) and his wife Jayashree (Kanitkar). They are happily married, but a calculative Sunil wants to postpone any plans for a child by at least five years, allowing the business to settle. When Jayashree becomes pregnant, he prefers abortion to changing his plan. An ensuing complication jeopardises any plans to become proud parents, and surrogacy seems to be the only option left for parenthood. The housemaid Radha (Redkar) agrees to carry the child to term as a surrogate mother since she is promised a fixed sum towards her son’s education. Sunil wants no complication post delivery, and insists on an airtight contract being drawn up stating the rules and responsibilities of both parties. Events take a strange turn and Sunil finds himself at odds with the terms of his own contract. If we apply the real world logic to this film, the character of Sunil appears irrational and even irritating. His insistence of revising the contract at the drop of a hat makes little or no sense and it eventually lands him up in trouble often enough. Perhaps then, it makes more sense to look at this film as a film investigating moral and ethical boundaries of human behaviour, rather than expecting any realism. This approach can explain Sunil’s behavior to a large extent. The film works best when it deals with ‘Monkey’s paw’ kind of logic, when things which seem like blessings turn sinister at a moment’s notice. This tactic works well in the first half of the film. As we move towards the end, there are too many coincidences and erratic behavior of the characters, resulting in a considerable reduction in the impact. The flimsy ending does not rectify the situation.

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