Desh Dasi: A Period Piece That Tries To Save The World

Is it worth your time?

If you have a thing for black-and-white melodramas where the characters are constantly making grand, life-altering decisions based on national duty, then sure, dive in. It is a slow burn that expects you to care about the socio-economic status of Indian villages in the 1930s. If you prefer your movies to actually move or if you have zero patience for preachy dialogue, you are going to hate this.

Vinakumari (Gohar) starts out so bored with her colonial-lite lifestyle that she basically wanders into a Gandhian ashram just to find something to do. It’s a bit jarring how quickly she ditches her boyfriend, Dr. Rasik (Bilimoria), just to hang out with the workers. But hey, people did strange things in these old movies.

The ashram scenes feel like they go on for a week. You can almost feel the director’s thumb pressing on the scale, trying to make sure we know who the good guys are. Sandow is playing the leader with this intense, wide-eyed earnestness that made me want to go make a cup of tea just to break the tension.

The whole conflict with the carnival is so weirdly specific. You’ve got these urban businessmen rolling into a struggling village to set up games and snacks while people are literally suffering from famine. It is not exactly subtle, but there is something kind of charming about how heavy-handed it is. It reminded me a little of the theatrical posturing you see in Dance, Girl, Dance, though the goals here are obviously much different.

The landlords are total cartoon villains. Bakshiji, played by Keki Bawa, wears his greed like a neon sign. Every time he walks on screen, I expected him to start twirling a mustache, even if he didn’t have one.

The medical stuff with Dr. Rasik feels tacked on, like someone realized halfway through that the doctor character hadn't done anything but stand around looking pained. Suddenly, he’s the hero of the disease-stricken countryside. It’s a pivot that doesn't really land, but at least it gives the guy something to do besides pine over Vinakumari.

Odd little things I noticed:

• The transition between the city life and the ashram is so abrupt it gave me whiplash.
• The extras in the background of the carnival scenes look like they are having way too much fun for a movie about social misery.
• One of the scenes involving a bucket of water lingers about ten seconds longer than it needs to. It’s almost hypnotizing.
• There is a distinct lack of chemistry between the leads, which makes the whole love triangle feel like a chore.

It’s not a masterpiece. It’s not even really trying to be. It’s a message movie that got lost in the shuffle of its own plot. Still, there’s a strange, quiet dignity to the whole thing that kept me watching until the credits rolled. Just don't expect it to change your life like it changed Vinakumari’s.