'The Disciple' movie review: A treat for cinephiles

Director: Chaitanya Tamhane

Executive Producer: Alfonso Cuaron

Platform: Netflic

Rating: 3/5

Marathi director Chaitanya Tamhane made an impressive debut with the 2015 release Court, which was selected as India's official entry to the Oscars. The film dealt with the country's legal system and catered to those fond of realistic cinema. His second and latest movie The Disciple is a bit similar to his debut vehicle as it is meant for cinephiles as opposed to the masses. The drama, however, is set in a completely different space from Court as it explores 'internal conflict' rather than the battle against the system.

The Disciple revolves around the journey of an aspiring classical singer while highlighting his bond with his 'Guru'. The film opens with a 'riyaz' session, which sets the tone for what is to follow. The movie subsequently moves at its own pace, which keeps the action as realistic as possible. The scenes focussing on the protagonist's struggles and attempts at finding perfection make an impact due to the organic intensity. They, however, fail to cater to those fond of commercial cinema.

The sequences focussing on the equation between the 'hero' and his mentor have been executed with sincerity and feel quite relatable. Simple gestures do the talking in their scenes, which bears testimony to the level of craftsmanship involved.

A key scene towards the end in which the protagonist expresses his disgust for a character too quite effectively and has a certain amount of shock value. The portions dealing with the 'commercialisation' of music, however, needed to be explored in depth. There are passing mentions of issues such as lack of sponsors and awareness but they do not make the desired impact.

Newcomer Aditya Modak keeps us hooked on his sincere performance even though he is not able to internalise the character as much as he could have. Arun David is the scene-stealer of The Disciple and his dialogue delivery makes his character all the more relatable. The Sumitra Bhave, who plays the 'voice of Maai', makes her presence felt even though the character does not appear on the screen. Her quivering and deeply passionate voice strikes a chord almost instantly. The rest of the cast serves its purpose.

The dialogues are simple and gel with the narrative. The most telling line, however, is the one in which Arun David asks for permission to 'warm his throat' before singing. The music design is flawless and makes the action more believable. It reminds the viewer of the one seen in the Telugu classic Swathi Kiranam, an emotional drama with a musical backdrop. The technical aspects are up to the mark