Upendra Subba’s first directorial film ‘Jari’, who has made a name for himself in writing stories and poems, is currently doing aggressive business in the domestic market. He has proven himself to be excellent in story and screenplay writing with ‘Kabaddi’ series and ‘Phoolbari’ and has also shown good potential in directing from his first film. Upendra has the ability to tell original stories in a funny way.
While directing ‘Jari’, he has experienced an important thing, to understand the film, it is necessary to understand the society. In an interview program with journalists held in Kathmandu on Wednesday, he said, ‘If you don’t understand the culture of the society, it will have different meanings. Therefore, to understand the film, it is necessary to understand the society. In ‘Jari’, I have given up the facility of being understood by any community.’
It is his self-confession that when he writes a story or puts it into visual language, he thinks in his own way but does not try to explain it. Upendra says that by his nature, in ‘Jari’, Hangma (Miruna Magar) went to live as a servant in Namsang’s (Dayahang Rai) house. However, he clarified that he did not want to show that Hangma had gone to live as a servant.
He said, ‘In the film, Hangma had not gone to live as a servant in the house of Namsang. Namsang has the right on Hangma. The relationship is not broken. Namsang’s right over Hangma lasts until there is an ongoing collection which is called a Jari. That’s why Namsang brought back Hangma to pay the debt. However, by saying that it was brought back, Hangma is not Namsang’s wife or servant. However, he feels entitled. Like a Hostages
If you don’t know how to say it, you skip it like this. Those who knew how to make it would have finished it and made it well. I ‘skipped’ to bring it up. I have spoiled the story like that.’
