Disclaimer- Spoilers are coming, think before reading! Let's say, a tree is a story. And you are the one drawing the story. Now, while you are drawing a tree, you will have to make roots. You will have to add branches to it, show leaves growing. Even if you want to show fruits growing, it is up to you! But, to make a whole tree, you will definitely work hard to draw different parts of the tree!

But, if you draw a picture of only leaves, how can you consider it a tree? You can also interpret it as a tree. But, it does not have the form of a tree. In fact, it will only be an incomplete picture of a tree. In that sense, are you only telling an incomplete story of a tree? To tell the complete story, you had to draw the entire tree, show its journey. What would happen if you draw the story incompletely?

Yes, this is what happened in the ‘Producer’s Cut’ of Upendra Subba’s film ‘Jari 2: Song of Chhaybrung’! The version edited from the director’s perspective has been released in the theaters since Tuesday. That is, now you will only be able to watch the ‘Director’s Cut’. Come on, how does the film look in these two versions? Let’s dig in.

The edited version of the film from the producer's perspective was incomplete. The film attempts to show the impact of the Maoist People's War on the lives of a couple, their relationship, and the society and culture they lived in. However, while drawing the story, Upendra has touched on the couple and their culture. He has also shown the society that was made beautiful by culture and culture and the wounds that the war has inflicted on their lives. However, while showing this period that Nepali society has experienced, he has shown the story incomplete. The 'producer's cut' of 'Jari 2' seemed incomplete because the 'arc' (story telling style) of the story was not complete. It seemed that the narrator had a break in the middle while telling the story, and then the story was completely stopped.

In particular, 'Jari', which was released in 2023, was original in its story and storytelling style. The culture and traditions of Limbu society, the ups and downs of a couple's life, and the various aspects of their relationship woven into a fine thread were woven into the tunes of Palam and Chhyabrung. Limbu society and their way of life were mixed in it. But, at that time, there was only one problem in the lives of Hangma (Miruna Magar) and Namsang (Dayahang Rai) - childlessness. Director Subba told the story of 'Jari' by mixing the ups and downs of their married life with that problem. The audience liked that original flavor, and in return, crores of rupees of profit fell on Upendra's lap.

That's why, this time, the director's team seems to be in a hurry to double that flavor. Why not finish the story! That's why Chhyabrung is torn apart quickly here. Again, the Maoists enter Hang and Namsang's lives at the same rapid pace. In fact, there was no smell of Maoists and bullets anywhere in 'Jari'. Those who wanted to make a sequel needed a story. Now what story to add? Maoist people's war! The wounds caused by people's war are like the pain that the related community feels when a chhyabrung is torn. However, 'Jari 2' has lost the original sweetness of storytelling when it tries to tell many topics at once: relationships and chhyabrung, Maoists, friendship and couples.

Although Maoists are shown sporadically in the film from the beginning, it seems that this topic has been forced because the story does not flow in parallel. Like

, there is no trace of Maoists anywhere in 'Jari'. Therefore, in ‘Jari 2’, the entry of the Maoists into the lives of Hangma and Namsang seems to have been sudden. If director Subba had made this point in the prequel, if the establishment of the story had been made more believable, the entry of the Maoists would not have been sudden. With the entry of the Maoists, instead of the music of Chhyabrung and Palam, the crackle of bullets and guns is now heard.

Hangma and Namsang’s lives are not incomplete in ‘Jari 2’. With the arrival of their daughter, life moves forward at the pace of Palam. However, as soon as the Maoists enter, their world starts to fall apart. Meanwhile, Mangalsen gets married. Mangalsen’s marriage, his family and married life are also given a little more space in the film. Namsang has learned to play Chhyabrung, and knows how to sing Palam. Let's just say that Palam has dragged him . Hangma's brother (Anil Subba) has also got married .

The fight between Hangma and Namsang is still going on . The director has made an excuse for these two to keep fighting with each other in the style of old-fashioned fighting! That's why the two keep fighting with each other like in 'Jaari' . Maiti Anil Subba keeps chasing Bhena with a bunch of boys for the safety of her sister . Along with Mangalsen, Namsang has got many other friends this time . Buddhi Tamang to Bishnu Moktan's group has also made Namsang's faction big .

But, as soon as the Maoists enter the village . Then, a crisis comes in the lives of these characters between the army and the Maoists . The torn chhyabrung is used to show the impact on culture. The village suddenly seems deserted. The fairs are decreasing. And big words like Parivartan, Mukti, Limbuwan make the village war-weary. The village falls into a trap. And another relationship gets caught in the trap of the army and the Maoists – Hangma and Namsang. The Christian also enters while chanting (Jai Masih – Jai Yeshu).

Namsang is taken by the Maoists, the rhythm of the story is spoiled from here. Meanwhile, Hangma keeps running day and night in search of him. She walks in the jungle and rivers looking for Namsang’s footprints. However, the audience cannot experience her journey much.

The audience does not empathize with the suffering she goes through in search of her husband. The reason is that the scene where the husband, who was contemplating remarrying before disappearing from the village, goes in search of Namsang, who suddenly disappeared amidst a heated argument, is not set up in a believable manner. On the other hand, where are the other characters in the village while the tug-of-war between these two couples and the Maoists is being shown? Not much time is spent on what they are doing. Only one or two scenes are shown. Basically, it seems like the director is trying to show the pain and anguish of Hangma who is searching for her husband. However, Hangma's tears and search for her husband do not really touch the hearts of the audience.

The most disturbing part is that when Hangma, who was searching for her husband, returns home one day, suddenly her husband is shown to have returned home. But, how did the Maoists return Namsang? The audience does not get a specific answer to that. Again, will the army just watch the Maoists leave the village where the army is reaching in a hurry? After showing the story of the Maoists and the army for a long time, these two sides disappear in this last scene. What happened to Comrade Sunita (Richa Sharma)? How did she leave Namsang? All these stories have been rushed into the ‘Producer’s Cut’. However, the ‘Director’s Cut’, which has been added by 14 minutes, has the answers to all these questions. That is why this version of the film is more beautiful than the ‘Producer’s Cut’. It has the issue of the entry of the Maoists, culture and identity. It has a beautiful color of war. The