Mumbai on the sea shore, the sound of waves come from the sea, the roaring sound of different vehicles on the street and a camera quietly entering a luxurious car where an MF radio is playing on. Two varied sounds- one is public, other is private. Then the camera catches images of some children of different families; mild sound is heard- the sound of brushing teeth, the sound of switching the light off. All these are enough to give a glimpse of the world full of sound and silence. We gradually enter the world. And at that very moment the title of the film appears- Beyond Silence.
We need not wait long to find out who are living beyond silence. On the screen there is a boy, named Prakash; he is busy in shooting with a handycam in his hand; he cannot speak, but he can communicate with gesture, with sign language. There is no need of words; what is important is only scene. After him we meet a number of physically challenged, hearing impaired young boys and girls; we slowly arrive at their psyche.
Generally it happens that while someone speaks about an exceptional person, the speaker becomes sympathetic towards him. This is natural. If that exceptional one is economically, socially or physically weak, the speaker would be more emotional. As a result of this partiality and patronage take place instead of methodical explanation in the proper presentation of the subject matter. We usually like to impose our views or ideas on weaker sections instead of listening to their own voice; it may happen due to our sympathy towards them which is quite dormant in our subconscious mind.
Vidyut Latay, the director of Beyond Silence has succinctly overcome all these weaknesses, and impartially enters the world of the physically challenged persons; they are deaf; he enters the world and enquires about their happiness, dreams and hopes, and...