214. Indian Director Praveen Morchhales’s Film “Walking with the Wind” (2017) (India) Based on His Own Original Screenplay: Recalling the Cinematic Footprints of the Late Iranian Maestro Abbas Kiarostami

Director Praveen Morchhale is an emerging noteworthy filmmaker from India making films based on his own original scripts that use children in pivotal, non-controversial roles.  His films certainly cannot be classified as children’s films as these works, while tugging at the hearts of adult viewers, are essentially humanistic and philosophical in content that is relevant for viewers of all ages. His films are different in many ways from the average contemporary Indian cinema. The titles of his two films Barefoot to Goa (2013) and Walking with the Wind (2017) are in English, while the films are not in that language.  Spoken words are minimal though important, while visuals and documentary-like performances dominate.  Family values are underscored indirectly in both films. Both films exude positive thoughts, providing viewers with a breath of fresh air, not unlike the early works of the Iranian filmmakers Abbas Kiarostami and Amir Naderi. Director Morchhale, who has been influenced by the former’s works, dedicates the film to him as he passed away while the film was in production. Kiarostami’s evocative short film The Bread and Alley (1970) has a similar treatment of a different story.
While Morchhale’s first film compared and contrasted contemporary urban and rural western India, his latest film is entirely shot in a rural setting of Ladakh, in the northern Indian state of Kashmir, with principal actors playing their real-life roles. Italy’s filmmaking maestro Ermanno Olmi achieved a similar effect in the brilliant Golden Palm winning The Tree of Wooden Clogs (1978). Morchhale spent time over two seasons with the community some 80kms from Leh, while developing the tale and roping in the inhabitants to join the film as non –professional actors in roles close to their own in real life.

The boy and his sister study as their parents prepare dinner in the modest
real Ladakhi rural home

Morchhale’s characters are very ethical. In Walking with the Wind, a school student unwittingly breaks a school chair and goes to immense efforts to get it repaired. (It is not clear whether he has to sit on that very chair to write his forthcoming examination.  In any case, a broken chair would cause inconvenience to some student in his class, if not him)  A school student studies diligently to pass his examinations but realizes that he and his sister have no ink to write it and literally goes the extra mile to procure it from a distant town. Education is important for some children (including girls) when they note that only a few of the adults in the village are educated. Morchhale’s young film characters are all resolute, whether it is to reach a destination (as in Barefoot to Goa) or to achieve a modest aim.
The young Indian director, influenced by Iranian cinema, roped in a young Iranian cinematographer Mohammad Reza Jahanpanah, who had done the cinematography for Jafar Panahi’s acclaimed film Closed Curtain (2013), a Silver Bear winner at the Berlin Film festival. And if there is a single most engaging aspect of the film it is camerawork that captures the terrain, the pathways (roads are few here), and the sparse population compared with the rest of India.

The terrain, the boy, and the broken chair: the camerawork of  Jahanpanah
captures it all

The director is clever in incorporating real life characters from the village into his script thus avoiding high costs he would otherwise have incurred employing professional actors. The performances as in an Olmi film are flawless.  The main character is a schoolboy, the carpenter is a real life carpenter, the poet is a real one, the blind man is a real blind man, and the Japanese painter/documentary filmmaker in the film is a real bona fide inhabitant, married to a Ladakhi man in the village. The director has not used sets—he used the real dwellings.
There are evocative sequences in Walking with the Wind that will not be missed by viewers exposed to good, international cinema. The Japanese lady, busy painting the landscape, looks up from her work to watch the young boy with a chair in the distance. The cinematographer captures the boy’s presence in the vast landscape on the corner of the visual frame accentuating the smallness of the character and the relative importance of the event in the vast land. The open metaphors the film offers are for viewers to decipher and ingest.

The impressive lead actor who like the others
in the film are not conscious of the camera

Morchhale’s filmmaking proves several points for filmmakers in India. You can make good films by investing on good film crews rather than on actors. Writing your own non controversial screenplays is more rewarding in many ways. And more importantly, the world of cinema is growing more international and often more non-verbal. Finally, it showcases the pristine parts of India little known to most Indians, and far less to wider international audiences. It is also a film that does not spoon-feed the audiences—the end sequence of the film makes the viewer think awhile.
P.S. Morchhale’s first film Barefoot to Goa (2013) was reviewed earlier on this blog. The film is the first Indian film chosen to compete in the 2017 Cameraimage festival in Poland. Olmi's The Tree of Wooden Clogs has been extensively reviewed earlier on this blog. (Click on the names of the films in this post-script to access the reviews)


The trailer of the film is at https://vimeo.com/242193105