Phule Movie Review: Pratik Gandhi and Patralekhaa illuminate a forgotten legacy and tell a story that matters

The narrative opens in 1897 with the bubonic plague devastating Pune and displacing thousands.

‘Phule’ is a sincere, quietly powerful film that brings to light the pioneering social reform work of Jyotiba Phule and his wife, Savitribai Phule, during British rule in India. Lasting just over two hours, it effectively showcases the personal and social circumstances that compelled the couple to challenge deeply entrenched caste hierarchies.

Unflinching in its narration, the film openly points to the upper-caste Brahmins of the time as central to the systemic oppression plaguing Indian society. Anchored by committed performances from Pratik Gandhi and Patralekhaa, and steered by Ananth Narayan Mahadevan’s understated direction, Phule delivers a measured yet impactful portrayal of two individuals who transformed the Indian social fabric through education and reform.

Reform and fight for education

The narrative opens in 1897 with the bubonic plague devastating Pune and displacing thousands. It then shifts into flashback, transporting viewers to the early days of Jyotiba (Pratik Gandhi) and Savitribai’s (Patralekhaa) marriage. Moved by the disdain and discrimination shown by upper-caste Brahmins towards lower-caste communities, the couple commits to a singular mission: education for the oppressed, particularly girls. Their efforts face immediate backlash—not only from society but also from Jyotiba’s own father, Govindrao Phule (Vinay Pathak). The backlash is intense, even violent, with Brahmins halting classes by force.

Undeterred, Jyotiba leaves home and, with support from his childhood friend Usman Sheikh, resumes teaching. Despite the British acknowledging the value of their work, they offer no financial aid. Jyotiba goes as far as selling part of his ancestral property to sustain their efforts. Later, the couple expands their focus to include widow rehabilitation, drawing even more ire from upper-class Brahmins. The tension peaks when the Phules begin conducting weddings without Brahmin intermediaries—an act that lands them in legal trouble.

Realism over rhetoric

What truly elevates the film is its commitment to realism and restraint. It avoids melodrama and instead opts for a grounded, sincere tone throughout. The world of 19th-century Maharashtra is captured with great detail, lending authenticity to every frame. The camera work and production design immerse the viewer in a time of deep-rooted societal divisions. The script keeps a tight focus on Jyotiba and Savitribai’s journey, highlighting key moments in their efforts to educate girls and support widows. Their social reform work forms the core of the film, but the film also goes further to offer a sharp and unapologetic critique of the caste system. It doesn’t soften its message, and in doing so, it becomes both a tribute to the couple’s work and a bold statement on historical injustice.

Performances elevate the film

The performances anchor the film beautifully. Pratik Gandhi is understated yet powerful as Jyotiba Phule. His portrayal is marked by subtlety and inner resolve—he never overplays a scene, allowing the script and setting to carry the emotional weight. Joy Sengupta impresses as a rigid upper-caste antagonist, making the viewer uncomfortable with his antiquated worldview. Vinay Pathak, though limited in screen time as Jyotiba’s father, leaves a strong impression. But it’s Patralekhaa who emerges as the soul of the film. Her performance as Savitribai is layered and commanding—resilient, empathetic, and dignified in the face of repeated humiliation. She brings both grace and grit to the role, especially in scenes where her silence is louder than any dialogue. It’s a career-defining turn and one that truly honours the legacy of her real-life counterpart.

Despite a few missteps, the film leaves an impact

Several scenes stay with you long after the film ends. One such moment sees a group of Brahmins stepping aside to avoid Jyotiba’s shadow, fearing pollution—a stark metaphor for the absurdity of caste discrimination. Another shows Savitribai enduring rebuke from her father-in-law for being childless, only to carry on with poise and quiet defiance. The climax delivers a quiet punch when Savitribai insists on lighting her husband’s pyre herself, rather than allowing a male relative to perform the rites. These scenes succeed not through grand gestures but through their emotional clarity. However, the film isn’t without its flaws. The pacing dips in the middle, and a flashback-heavy song sequence feels unnecessary and disrupts the flow.

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Also, while the story unfolds during a time when India witnessed its first major rebellion against the British in 1857, the film makes no mention of this pivotal event. Given the scale of the uprising, even a passing reference would have added historical depth. Despite these minor missteps, ‘Phule’ stands tall as a film that brings well-deserved attention to a couple whose efforts laid the foundation for modern social reform in India. It’s not a loud or flashy film, but it carries a quiet urgency and relevance that resonates today. Phule is important viewing—an honest, dignified tribute to two of India’s most courageous visionaries.

Cast: Pratik Gandhi, Patralekhaa, Joy Sengupta, Akshaya Gurav, and Vinay Pathak

Direction: Ananth Narayan Mahadevan

Rating: 3.5/5

(‘Phule’ is currently running in theatres)