Fazal the projectionist (Bhavesh Shrimali) licks his fingers, as his ‘upper-caste’ pupil learns to be at home with the movies: the former being Muslim and a mentor is both incidental, yet powerful, because it shows the art of cinema being home to all communities and castes.īut ‘Chhello Show’ has a familiar problem, and that is the gaze through which some elements are turned exotic or too-pretty. In return for being able to spend his day at the cinema, the time he is meant to be at school, home-cooked food becomes barter. The film does best when we see Samay surrounded by the paraphernalia of cinema in its celluloid age: the projectors, the metal cans which house the reels, the distinctive whirr of the sprockets, the cone of light that streams out of the box to land on the screen, there to become the sights and sounds of a film, and the audience which shows up to savour the experience day after day.
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