Nepal witnessed three major movements in the Southern plains, which is popularly known as Madhesh, in 2007, 2008 and 2015. The Madhesh movement, demanding rights, identity with dignity, and equality of Southern plain community, has various facets. And Rajaganj is a film made against the backdrop of the third Madhesh movement, when it was protesting against the new Constitution, blaming it for not addressing their concerns, and lack of adequate representation.
In this context, on September 8, 2015, CPN (UML) chair KP Sharma Oli, in a speech, referred Madhesh-based parties as 'fallen mangoes'. "If two or three rotten mangoes fall from the tree, the tree will not finish," he has said, adding, "they just don't like it."
That clip of PM Oli's speech is still circulated on social media platforms. Interestingly, this clip has been censored in the film by the censor-board, and it is no surprise that KP Oli is the Prime Minister, at the time of screening of Rajaganj. But while watching the film, the PM Oli's infamous speech is replaced with 'beep', which makes the movie watcher feel like stupid.
Prime Minister Oli's love for the arts is well-known. He frequently meets with artists and publicly shows his affection for them. He has at times visited movie theaters and even acted in a film, too. However, he might feel uneasy listening 'beep" instead of his speech, if PM Oli watches the film. And perhaps, like the general movie goers, he, too, will criticize the censorship board for this unartistic move. In the film, even the word 'Prime Minister' is not allowed to be spoken, which exposes the censor board's mentality.
The film, Rajaganj, has received a 10-minute standing ovation at the world-renowned Venice Film Festival. If PM Oli watches the film, it will be no surprise, even he might stand up in the theater. But, for that he should watch the film first.
Rajaganj can be called a 'masterpiece' of Nepali cinema. Based on the backdrop of the Madhesh movement, the film's narrative is tight, keeping the audience engaged from start to the end. The film's main character is Inspector Pooja Thapa (played by Asha Magarati). During the Madhesh agitation, two children from the hilly region are kidnapped in the border village of Rajaganj. Inspector Pooja, stationed in Kathmandu, is sent to investigate the kidnapping case. Leaving behind her sick and old father and a colleague Rama (Gomaya Gurung), she heads to Rajaganj, where she witnesses the Madhesh during her investigation, the movie-goer also witnesses Madhesh along with her.
The director does not feel the need to explain the relationship between Pooja and Rama, but it is apparent that they are lesbian. Despite being a police officer, Pooja, however, has not been able to openly reveal her identity and suppresses her feelings. Thus, this film is not just about investigating a crime but also about Pooja's inner struggle for her identity, which the director uses as a metaphor for the Madhesh movement and the Madheshi community's plight.
Directed by Deepak Rauniyar, Rajaganj is a crime thriller. But, the director did not choose the border village by accident. Symbolically, he shows the political and social boundaries of the country. During her investigation of the kidnapping case, the Madheshi people refuse to talk to Pooja, which shows how, during the Madhesh movement, the Madheshi community was reluctant to trust officers from the hilly regions.
Another lead character in the film is Madheshi police inspector Mamta Gupta (Nikita Chandak), who openly assists Pooja in her investigation. Through their relationship, the director conveys the message of unity between the Madheshi and the hilly people. During the investigation, an innocent young man dies in the police custody, and the district police chief, SP Madan Rai (Dayahang Rai), who is of indigenous origin, suspends innocent Mamta, which reflects how the Madheshi origin police were treated during the Madhesh movement. In one scene, Inspector Pooja questions Mamta: "Why can’t you say no to SP’s wrong orders?" Mamta replies, "Sir, you don’t know the difficulty of being a Madheshi."
Rajaganj can be called a 'masterpiece' of Nepali cinema. Based on the backdrop of the Madhesh movement, the film's narrative is tight, keeping the audience engaged from start to the end.
In the film, one of the two kidnapped children is the child of important figures: a Member of Parliament Pravin Yadav (Parmeshwar Kumar Jha) and the principal of a local school, Sabita Koirala (Reecha Sharma). While people in Madhesh protest against MP Yadav for not speaking up on the Madhesh issue, the film sarcastically comments on certain Madheshi leaders, who have made the Madhesh issue a bargaining chip. Meanwhile, MP Yadav's wife Koirala, a woman from the hilly region, ceases to run her school after her son's kidnapping, which highlights the educational challenges in Madhesh.
Saraswati Yadav, a woman who teaches local children free tuition, questions Sabita in a school discussion, and as a result, her unborn child is killed in an attack. But the police refuses to take any action on her complaint, and her suffering is ignored by the media as well. Through Saraswati, the director portrays how the issues of oppressed women in Madhesh are often neglected and silenced.
In Madhesh, there are also police officers of hilly origin, like Amar, who resents his darker skin and feels alienated from the Madheshi people. His statement about what it means to be Madheshi prompts further reflection.
Through the kidnapping of two children, the director reveals the injustice faced by the Madheshi community and the divisions in the country. Likewise, Pooja, the lead character, dislikes being called "Ma'am" and prefers "Sir," which illustrates how marginalized communities, particularly those based on gender and sexual orientation, are forced to suppress their true selves due to society's lack of acceptance.
This film not only features female characters in lead roles but also portrays them as strong and dynamic. By assigning the responsibility of investigating the country’s most high-profile crime to a female police officer, especially one who is a closeted lesbian, the director makes a subtle but powerful critique of the state. The portrayal of a lesbian character in such a courageous and empowered manner is unprecedented in Nepali cinema.
Therefore, the police officers in Nepal, who have imposed the condition that film scripts must be shown to them before using police uniforms, should also watch this film.
The performances in this film are compelling. Nepali cinema has found a strong new actress in Asha Magarati, whose portrayal of Pooja is striking. Her character speaks volumes even through silence. Her performance leaves a deep impression on the audience.
The director avoids unnecessary dialogue, letting the scenes themselves evoke the essence of Madhesh. Nikita’s portrayal of a Madheshi police inspector is another surprise. Vijay Baral’s role as a junior police officer brings humor, and Dayahang Rai fits perfectly in the role of the SP. Other actors like Reecha, Gomaya, Aarti, and Pashupati Rai are also well-cast and make the film feel authentic.
From a technical standpoint, the film is outstanding. The cinematography is dark, reflecting the lives of the characters. The camera, lighting, and sound capture the mood of the characters’ emotions, tension, and fear. The use of close-ups helps express internal struggles, and smooth tracking shots effectively capture the tense environment of Madhesh. Some scenes feature shaky camera work, which not only adds realism but also highlights the uncertainty and tension within the characters.
For years, Nepali cinema has portrayed Madheshi characters as comic relief. This portrayal has been a bitter reality for the audience. However, this time, under the direction of a Madheshi filmmaker, Rajaganj takes the bold step of portraying Madheshi characters realistically and seriously. After watching this film, you won’t be laughing at Madheshi characters; you’ll be reflecting on the harsh realities they face.
.
