Moreover, the rage against being reduced to a Dalit identity is consistently present in Jabya’s character. It empowers Jabya with the courage to defy caste norms and to seek love from Shalu. Similarly, by sprinkling the ash onto Shalu, Jabya wishes her to reciprocate his love.
According to local legend, it is believed that the ash obtained after burning the black sparrow, if sprinkled onto someone, hypnotises them to fall in love with the person sprinkling it.įrom a personal imagination, the shrewd killing and burning of a black sparrow represents an assertive resistance against caste oppression and struggle. Throughout the film, Jabya is seen chasing the black sparrow, the purpose of which is revealed during the climax of the film. Manjule uses the myth of a black sparrow as a poetic metaphor, the interpretation of which is left to the audience. The plot opens with Jabya and his school friend Pirya (Suraj Pawar) armed with a slingshot trying to catch a black sparrow with a distinctive forked tail in the wilderness of Akolner.
Manjule uses exemplary metaphors throughout the narrative and displays powerful imagery that expose the farce claim of India as a ‘ modern’ nation. The central plot of the story is an unrequited love story at the intersection of caste between the protagonist Jabya (played by Somnath Avaghade) who belongs to the Kaikadi caste – an oppressed caste community and Shalu (Rajeshwari Kharat) who belongs to an oppressor caste community of Maharashtra. The rural aesthetic and the sombre background score solemnly introduce us to the transgenerational experience and resistance of the Mane family against caste oppression in the Akolner village of remote Maharashtra. The Marathi film Fandry is a debut film by Nagraj Manjule that categorically exemplifies the reality of caste in modern India.
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