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In many thrillers, tension is often heightened with each scene and beat, but in Devashish Makhija’s third feature, things are not the same. The manhunt in this film is burdened by a sense of intense suffering. The protagonist Dasru (played by Manoj Bajpayee) struggles to make decisions and is only driven by desperation. Even his pursuer, Ratnakar (played by Mohammed Zeeshan Ayyub), is not much better off. The pressure cooker setting offers no escape from the constant exploitation and cynicism of society, with Makhija’s empathy for the marginalized being the only solace.
Dasru, a member of the “scheduled tribes” from Jharkhand, who has tattoos, currently lives in Mumbai as a laborer. Phulo Karma (played by Smita Tambe), a tribal leader from the same region, visits Dasru’s construction site to campaign for an election. She recognizes him as a former jungle rebel who fought against his husband’s iron-ore mining company for taking over local lands. Dasru is shocked to find his wife Vaano (played by Tannishtha Chatterjee) brutally murdered and hung upside down at home. He is forced to flee into the streets with his three-month-old daughter Joram in a sling.
Dasru quickly heads back to his hometown in Jharkhand, accompanied by a reluctant Ratnakar. However, their pursuit lacks finesse and appears sporadic, with the action scenes appearing haphazard and impromptu. Instead of building up to a dramatic climax like in Hollywood films, the movie opts for a more realistic approach, particularly in the captivating train corridor scene. Director Makhija skillfully captures the chaotic urban landscape of half-finished buildings and railway yards with a tense, noir-like aesthetic. As the film progresses, it shifts to a more satirical tone, highlighting the encroachment of “progress” on rural life. The corrupt Jharkhand police officers, who hail from a region known for its reverence for trees, all keep their mobile phones in small cages attached to their belts.
This ongoing conflict between modern and traditional values is always focused on a mythical future. For instance, a tree with a menacing significance stands alone in a desolate quarry. Tambe portrays a powerful and intimidating persona as the vengeful leader, while Ayyub also delivers a strong performance as the compassionate Ratnakar. However, Bajpayee, who gained recognition in the intense 1998 crime drama Satya, excels in portraying raw realism. He remains mostly silent, clutching his baby tightly and visibly distressed as he tries to escape the situation, resembling a character from Fritz Lang’s M. A cry for the marginalized in India.
Source: theguardian.com
