‘Me Vasantrao’ reflects the supreme reward of music

Renowned Hindustani vocalist Pt Vasantrao’s musical journey masterfully upholds the democratic nature of the art form, writes Ritwik Kaikini

There is no definite end to the pursuit of music. ‘Me Vasantrao’(2022), directed by Nipun Avinash Dharmadhikari, takes us intimately through the events that shaped the soul and music of the great Indian classical singer, Pt. Vasantrao Deshpande. Rahul Deshpande, a renowned vocalist, shines in the portrayal of his grandfather, through his anxious, vulnerable and loving gaze.

“Every note is divine, like a God. Sur must be under our control. The attainment of Sur for each note is like meeting each God”, a young Dinanath Mangeshkar (played by Amey Wagh) explains to a young Vasantrao Deshpande. Dinanath also guides him to never imitate his gurus, warning him that impressions can attach themselves to any personality making them unoriginal. With tears in his eyes, he says “Economic poverty is not the real problem in the world. The real poverty is not finding your audience.” He tells him that the collective voice of silence in the audience is the supreme reward of a touching performance.

In Lahore, Vasantrao’s next guru, Asad Ali Khan Saheb (Kumud Mishra), teaches him how to absorb ragas calmly, detach further from imitation and anoint his practice with an existing pain from his life. Khan saheb tells Vasantrao that the real Marwa raga can only be felt in the mixed anomaly of lightness and darkness, where hope is clouded with pain and the notes are immersed in a sea of suspended contemplation.

Vasantrao’s close friendship with the multi-faceted artist Pu La Deshpande (Pushkaraj Chirputkar) develops over the playful song ‘Lalana’. When Vasantrao breaks open into an aalap, he exposes his voluntarily silenced brilliance. Watching him, an intimidated Pu La Deshpande gives up singing to follow a writing career and urges Vasantrao to pursue singing for life.

In the midst of his musical aspirations and anxiety of purpose, Vasantrao Deshpande never gives up his role as a dedicated father. During his lonely stint at the Indian border, a sea of silence in the cold mountains gives him the illusion of a peaceful space for riyaz. It soon dawns upon him that without his loved ones by his side, he cannot sing.

The deprivation of domesticity amplifies his suppressed ambitions. Begum Akhtar plays a very important role in bringing him back home and back to classical music. Under Pu La’s guidance, Vasantrao gives his first performance to an audience. He is met by criticism from orthodox listeners in the audience who ridicule his singing methods and refusal to be identified with any gharana. Vasantrao starts to lose an audience due to this stance and a helpless Pu La stands by him. “Am I not good enough?”, asks Vasantrao.

The best scene in the film is when Pu La Deshpande takes Vasantrao to a Lavani singer’s home. ‘Punava Raticha’ is a heart churning musical scene in the film where the Lavani singer’s performance is met with awe and Vasantrao sings back with an answer in Lavani style, with a dupatta over his head. The heartfelt affirmation and praise he gets from the Lavani singer lifts him up from the ashes of his struggle. Mutual respect for excellence in art brings dignity amidst the most helpless situations.

The film is packed with uplifting performances and a carefully curated soundtrack. The fresh renditions of old classical songs sung by Rahul Deshpande, Anand Bhate, Rashid Khan, Shreya Ghoshal, Urmila Dhangar and Jidnyesh Vaze enrich multiple layers of traditional melodies.

The arrangements and orchestration retain the historical flavour yet sound crisper and larger due to the evolved recording techniques of traditional instruments. Language, voice and the arrangement of notes are some of the striking elements that can be extrapolated from the Indian classical listening experience. Isolating these elements, as a study, helps bring out the rich heritage of these compositions.

However, they must not be precursors to form cliques in the listening world. Music can never be made exclusive or used to separate fraternities of listeners or performers.

Music is a democratic medium and factors which may tend to localize it are detrimental to its liberating experience. Pt. Vasantrao propagated this form of democratic Indian classical musical experience. His journey as a multidisciplinary, hardworking musician brings hope to a world of artists who pursue art as a lifestyle of assimilated learning amidst societal survival.