“I have a dream… ek aisa samaj ho jahan koi pradhan na ho sab saman ho” - Jyotirao Phule Indian social activist businessman anti-caste social reformer who fought for reform change and women empowerment in underprivileged India. A scorching sun chaos people masked with cloth wrapped around their faces bodies lying on beds Phule opens against the backdrop of the bubonic plague that gripped India in the late 18th century. Was it just another chapter in history or also a metaphorical lens on the systemic casteism and gender discrimination that still prevail? It’s all about what meets the eye—and that’s what makes the difference. Ananth Mahadevan’s biopic is based on two of India’s reformers who remain less celebrated than they deserve: Jyotirao Phule (Pratik Gandhi) and Savitribai Phule (Patralekhaa). This film serves as an introduction to who they were what they stood for and the struggle they ignited one that continues to this day. Savitribai Phule is considered to be the first female teacher in India along with Fatima Sheikh. She was a feminist iconic at a time when the concept didn’t even exist. Jyotirao Phule his wife and their aides were the people behind why women education exists who raised voice against gender disparity caste system preached rights of women widow remarriage harmony with all religions. It was for them who fought tooth and nail left their families endured the war against society a war of the intellect and not physical strength. In biopics like this where political social and sensitive have strong undercurrents objections are not surprising. The film witnessed a delay after majorly  three Brahmin segments raised objections and Central Film Board of Certification (CFBC) recommended tweaks. While some groups raised an eyebrow towards the biased and imbalance portrayal of Brahmins this doesn’t take away from the fact the social evil of caste based division did not exist in the first place. If the Brahmin boys were shown throwing cow dung at Savitribai then it was Tatya Bhide and Vishnu Pant and other Brahmin teachers who joined hands with Phule to move towards progression. Mahadevan has deftly weaved scenes where small actions of the characters portray a lot about their thinking as reformers. Just after Jyotirao and Savitribai come home after another gruesome day in a scene that appears to be a simple conversation the gesture of Jyotirao mechanically filling a glass of water and passing to his wife and she accepting it highlights how they imbibed the values of equality amongst themselves first. Comfortable Faces Fresh Performances Ananth Mahadevan’s choice of cast makes the film get that extra star. Pratik Gandhi as Phule and Patralekhaa as Savitri are known faces and just comfortable enough that it brings freshness and not starlight. The entire cast makes it palpably a common people’s tale. Gandhi clad in white dhoti brown coat and red turban effortlessly slips into the character who makes you want to believe in a calm and composed Jyotirao Phule whose eye burn with passion to uplift the society. For him it was always a war intelligence and not so much of yielding weapons and violence. So when Phule says “Angrezon ki gulami toh 100 saal purani hai main uss gulami se azaad karwana chahata hun jo kai saal purani hai…” - you believe his passion the ire towards oppression. Patralekhaa commands attention throughout the film. Just when you mistake her poise for submission she delivers a sharp jolt both literally and figuratively cementing her role as a true feminist icon. Unlike her earlier roles in Wild Wild Punjab or IC 814: Kandahar Hijack where you keep waiting for her to rise to her full potential only for the credits to roll. Phule finally gives her the space to excel and... she delivers! The chemistry between Pratik and Patralekhaa hits all the right notes. When she affectionately calls Phule “Sethji” there’s a quiet reverence and deep love in her voice. Every time Gandhi meets her gaze with a smile you feel the warmth of their bond rooted in mutual respect and affection. It’s moments like these that make the line Tum har jeevan mein saathi from the song Saathi feel tailor-made for them. Vinay Pathak Akshaya Gurav Asit Redij Vishal Tiwari Suresh Vishwakarma Amit Bahl Joy Sengupta Darsheel Safary Alexx O’ Neil and the rest of the ensemble cast also deliver solid performances in their respective roles. When The Story Arc Fluctuates Uncomfortably The first half of Phule piques curiosity as the director introduces the ordeals of caste-based discrimination the layered problems of inequality and the societal evils that have been reduced to a single page in textbooks. Several small scenes leave you pondering. When Usman Sheikh’s (Phule’s school friend) sister Fatima welcomes the Phules by speaking in English it brings a smile to your face too because you imagine: two women conversing in English in the 1800s? A small win right there. According to the caste system that prevailed at that time the “untouchables” were not allowed to move out before dusk so that the “upper caste Brahmins” do not get near with the shadow that gets cast during noon. In a promising scene when Phule and the Brahmins come face to face the reformer’s one step forward was one step backwards for the social evils. That was the beginning of it all. However when one comes back after the interval with built up hopes the tension seems to die down. As the first half rallies through the trials and tribulations the second half is reduced to heartbreaking emotional phase slowing down the pace too. Here history is extensive and putting it all together in a 2 hours 20 minute long narrative is a herculean task. Hence the latter part of the film suddenly feels like a quick flip through rest of the significant chapters in the life of Jyotirao and Savitribai Phule. Here’s when it gets bumpy and slightly uncomfortable for the audience. Verdict: It’s the simplicity of Phule that makes it a fresh bloom in the era of biopics. The intentions are clear and pure. Patralekhaa and Pratik Gandhi carry Ananth Mahadevan’s direction with strength making it an important watch. It doesnt preach or push hard but instead encourages reflection telling the story of reformers who have remained relatively underrepresented. The storyline rushes through significant moments even within its slow-paced narration briefly making you wish for a 10-second skip button. Still its not preachy but an introduction to Jyotirao Phule and Savitribai Phule’s undeterred passion of ‘kranti’ of the mindsets. Stars: 3.5