ACT OF THE MATTER
First-rate performances elevate two small films into big winners.
SEPT 7, 2008 – IF MAGICAL REALISM WERE A CERTIFIED CINEMATIC TROPE, Santosh Sivan would be amongst its foremost practitioners. As The Terrorist so eloquently showed us, Sivan has few peers in the telling of stories through imagery suspended just so between the real and the surreal. He’s always been a cinematographer first, a director only later, and Tahaan captivates you primarily with what Sivan wants you to see – and I mean “captivate” quite literally, for these often-abstract images leave you in spellbound thrall; only then do you take away where the film is going and what it’s about. Sivan is the rare artist who uses what we dismissively like to call “pretty pictures” in the service of a genuinely larger vision, and by the end, they’re no longer just pretty pictures but the soul of the story.
When Tahaan (Purav Bhandara, playing a boy of eight who lives in Kashmir) lies on his back in the dingy confines of his home and tries to grab a handful of sunlight, the visual is beyond beautiful – not just because it could be framed and mounted, but because the boy is trying to claim for himself a piece of a golden dream, a little slice of the magical story that his grandfather (a wonderfully empathetic Victor Banerjee) narrated earlier. Is the dream that of a strife-free Kashmir? Is it that of a maqsad, a goal in life, represented so movingly by a pigeon washed up on ice? Is it that his missing father will return? Is it that he will soon become an adult, one of the mard log, so he will no longer be treated with an indulgence bordering on contempt for his feelings? Or is it that he will get back his beloved donkey, Birbal, which his penurious family was forced to sell off to a moneylender?
From the global to the local, this dream, in Sivan’s eyes, is all-encompassing – and the small miracle of Tahaan is that very little of this is shouted out to the audience. It’s all up there on screen, telling little touches that paint a heartbreaking picture of a lost paradise – a reclusive Kashmiri Pundit picking up an apple left at his doorstep; Zafar (Rahul Bose, almost overcoming being miscast) offering to compensate for Tahaan’s loss in a race by handing over a cherished pair of sunglasses; the quiet differences in how the mother (a very touching Sarika) copes with loss (of a husband) in a mostly passive manner, while her son, who’s too young to succumb to stoic resignation, copes with loss (of a pet animal) by actively attempting to do something about it.
And just when you thought a film couldn’t be more lyrical, Tahaan gets mired in literalness. The minor missteps are easy to overlook – like the woman from the documentary crew (clearly representing the quotation-marked clueless outsider) who thinks Tahaan is an adorable Kashmiri bachcha, or the children whose idea of playtime is falling dead to the pop-pop-pop of fake gunfire. (The notion of innocents being affected by their surroundings, of their innocence being snatched away, is realised to far better effect in a far less obvious scene, when Tahaan is casually summoned by a soldier by the roadside, and he walks up to the man with his hands in the air, as if surrender were an automatic assumption under the circumstances.) But Sivan’s major problem arises when the film migrates from abstract experiences to concrete plot mechanics, when he begins to show us how children too are sucked into the violence around them.
These are the portions he needed to be less of a cinematographer, more of a director – and though Sivan pulls off some lovely moments with Anupam Kher (as the no-nonsense elder who now possesses Birbal), the events engineered around Tahaan’s brush with militancy come alarmingly close to being facile. Then again, the director does inform us, at the beginning, that this is a fable, and perhaps a factual inspection of the circumstances is beside the point – especially when Bhandara takes us along on his journey with such magical conviction. The evidence of great, transparent acting is supposed to lie in such gifts as emotional memory and elastic body language, but based on the apparent effortlessness of recent child actors like Darsheel Safary and Purav Bhandara, you’re tempted to point to nothing more than an endearingly toothy grin.
IF NASEERUDDIN SHAH GREW TIRED OF ACTING and felt compelled to join the ranks of the white-collared, all he’d need for a résumé is his portrayal in A Wednesday. He plays a nondescript man in the middle of a nondescript workweek, clad in a half-sleeved shirt of drab uniformity, seated at his desk, discharging his duties with quiet sincerity and efficiency. Occasionally, he gets up to stretch, sipping tea that he pours from a thermos, and then he’s back in his chair. Even his lunch is unremarkable in its everydayness – sandwiches cut neatly into triangles, courtesy, presumably, the wife who, like wives everywhere, calls her husband to remind him to stop for a few provisions on the way home. It’s during this exchange that we hear the first tinge of annoyance in his voice – till then, so measured, so composed and reassuring – and when the wife asks if he isn’t mad at her last-minute instructions, he laughs it off, remarking, “Poora shaher pada hai gussa utaarne ke liye.”
This admission of having the entire city spread out before him – his top-level office offers a great view – in order to vent his irritation is the one thing that makes him uncommon among the sea of commoners he appears to represent. He has secreted into the city’s crevices a series of bombs, which he threatens to detonate if his demands aren’t met. The cops – a terrific cast of underutilised actors, comprising Jimmy Sheirgill, Aamir Bashir, and especially Anupam Kher – rally forth to defuse the situation, which threatens to spill over to the public when a TV reporter (Deepal Shaw) stumbles into the mess. And for a while, we appear to be watching nothing more and nothing less than a brisk, effective, journeyman thriller by first-time director Neeraj Pandey, who knows exactly how to ratchet up the tension, even if it means using familiar tricks like cross-cutting between the hunter and the hunted to give you the impression of a confrontation in the offing, and then pulling back to say, “Ha, tricked you!”
But sometime into the second half, we are presented a superb emotional twist that makes us reevaluate everything we’ve seen so far. Issues of whether this twist is logical or possible or even responsible, I’ll leave for better minds to discuss. All I’ll say is that, from the point of view of melodramatic effectiveness, it’s a masterstroke that you cannot help embracing and, subsequently, cheering. What Pandey accomplishes isn’t just the setting up of a beautifully entertaining clash between two of our finest actors, in a story routed through gentle humour, remarkably unfussy character development and a climactic confrontation that breaks your heart at how understated it is – but also something more high-minded: he has made a message movie (a rabble-rousing message, perhaps, but a message nonetheless) that says what it wants to say through action, and not words, as we experienced with the liberal pieties of Mumbai Meri Jaan. It’s rare for a ticking-clock thriller to transcend its genre, but it’s rarer still that a movie stuns you with a message without wagging a single finger.
Copyright ©2008 The New Sunday Express. This article may not be reproduced in its entirety without
Anand
September 6, 2008
Sub-Plots like the undercurrent between the Police Commissioner and the CM(which is so very understated that one may miss it)indicates that Neeraj Pandey has potential. In order that you do not miss it, Neeraj also shows the display of Police Commissioner’s phone when CM calls up; it displays the name not the designation!!I can’t help but remember a similar but overstated undercurrent between Rani Mukherjee and Anupam Kher in Veer Zaara 🙂
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Aditya Pant
September 6, 2008
As a thriller, A Wednesday works big time. For most part, it moves at a frenetic pace. In the first half specifically, there were some things I didn’t quite like, more from an execution point of view, but the pace of the film didn’t give me much time to mull over those. And the emotionally charged denouement, elevated further by Naseeruddin Shah’s mindblowing performance, was such that I was completely bowled over. Naseer’s last spoken words “I am…” was the perfect way to end it!
I could harp upon the things I didn’t like, but I’ll leave that for subsequent discussions.
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Aditya Pant
September 6, 2008
Anand: I noticed the cell phone display too. It said a lot about the equation betweeen the two people. Now, that shows that “a lot of thought has gone into the writing”. 😉
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Anand
September 6, 2008
BR..Cross cutting between the hunter and the hunted – yes it is a familiar trick, but Neeraj adds value by a prop, the bottle that the hunter trips on – that leads to almost the entire audience getting tricked. Familiar film-making tools are now passe, an aware movie buff cannot be tricked anymore by these gimmicks – thats where this value addition by Neeraj Pandey scores. This not only helps trick even a seasoned movie buff – but it also makes him/her vulnerable. Case in point, this similar cross cutting technique is used in the end again but we are not sure how it would culminate..The confidence that we showed in the first cross cutting sequence is not there in the second.
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Magesh
September 6, 2008
Any chance you would do a post on saroja? Everybody seems to be praising it as a new brand of cinema?
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Anand
September 6, 2008
Magesh…There was a very good film by RGV in Telugu..Anaganaga Oka Roju..Saroja is the same genre. But the writing is mediocre and the treatment (photography and editing style) is flashy. An okay film. As usual, it is being projected as a cult classic and New Brand. Even RGV’s another flop-but-good-though-not-in-the-league-of-Ananganaga Daud was better than Saroja.
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Anand
September 6, 2008
Aditya Pant: It not only shows the equation but also offers some insight into their past relationship. When CM first talks to Anupam Kher, Anupam plays his cards to get complete freedom. When CM meets Anupam, CM starts shooting questions w/o waiting for any answers..His supposed to be right had Patil intervenes and says that the situation is being handled effectively. Again when Naseer makes the last demand, Anupam wisely leaves the decision making to the CM and quietly watches him take that uncomfortable decision. In one of the scenes, he even asks the CM to suspend him(it is so swift that you hardly notice it).
Oh yes..lot of thought has gone into the writing. I adored the film.
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Anand
September 6, 2008
right hand…damn the spelling mistakes..when will start using dictation softwares 🙂
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Ramesh
September 6, 2008
Hah, both movies clicked this weekend for you !!! Going completely against the grain for Bollywood 2008 . Enjoyable weekend, I suppose ?
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Ravi K
September 6, 2008
Have any of you seen Santosh Sivan’s film Malli? It was a very charming film.
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Aditya Pant
September 7, 2008
Anand: the “lot of thought” statement was actually a bit tongue-in-cheek given the dicussion we have had on this blog of late. Barring at a few places, I felt the writing in the first half was quite half-baked. There was something very wrong with the first 10 minutes when the characters are being established. I haven’t figured out the exact reason for my initial disappointment, but somehow it felt that the writer probably took a rule from a screenwriting book – establish the characters first – but just didn’t know how to go about it. I latched on to the film only after the ‘thriller’ started.
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Anil
September 7, 2008
Hated the vigilate message – which I believe is totally irresponsible. But, the film-making was fine (barring a few things I had problems with) and the performances is what made the film interesting. Naseer, once again, shows why he is one of our most precious assets. Anupam was fine and so were both Jimmy and Aamir.
****SPOILER ALERT****
As much as I hated the content of the pre-climax “speech” by Naseer, I was totally transfixed by this actor’s delivery of that “speech”. Even though the film does not declare which community Naseer belongs to, his language and diction (very chaste Urdu) in the film end up providing a clue to that. His picking all four muslims, picking Arif as the one to transport them all and the shooting of one of the four, also betrays what was in the film-maker/screenplay writer’s mind.
It would be a shame if the common man starts taking matters into his own hands and start killing people without a proper judicial process.
Now, if they make a film where every one in the BMC is shot because of the absolutely pathetic condition of infrastructure in Mumbai city – then I would be the first one to stand and applaud. That would be a reason to kill, for sure 🙂
Cheers
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Raj Balakrishnan
September 7, 2008
Baradwaj,
After reading your ‘A Wednesday’ review, really desperate to watch it. Unfortunately such movies never get an overseas release. Will have to wait for the DVD.
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Raj Balakrishnan
September 7, 2008
Baradwaj, any plans of reviewing ‘Saroja’. Heard that it is inspired from an old Hollywood movie, ‘Judgement Night’. Again such small Tamil films never get a release overseas, only big masala films like ‘Kuruvi’, ‘Dasavatharam’ get a theatrical release here.
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brangan
September 7, 2008
Anand/Aditya: I too thought the first half was functional — though very proficiently done and besides, the acting was really top-notch and that took care of a lot of things. I really appreciated the effort made to sketch micro character arcs — like the TV woman experiencing a twinge of conscience and then deciding to do what’s best for her career; like the CM chickening out at first (“yeh bhashan nahin, negotiation hai”) and later trying to show he’s alpha-dog, by demanding that he does not wants any bomb blasts, but neither does he wants the men let free.
Yeah, and the “writing” bit has become a bit of a joke by now 🙂
Magesh/Raj Balakrishnan : I don’t think I’ll be able to do a review. I haven’t even caught the film yet…
Ramesh: Yeah, it’s very rare when this happens 🙂
Ravi K: Nope – haven’t seen Malli and Halo, been wanting to. I loved The Terrorist though.
Anil: Yeah, I didn’t want to get into a discussion of the message, which is why I said I’d leave it for “better minds.” The film worked for me the way RDB did, because of how it hits you in the solar plexus at least while you’re INSIDE the theatre. Oh, and yeah – Naseer was astounding. Like you say, the hallmark of great acting is when you buy the speech (in terms of delivery) even though you don’t really “buy” the speech (in terms of content).
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Anand
September 7, 2008
BR / Aditya: If we compare this film to a similar premise like Houseful(Parthiban), we will understand how lean the script of Wednesday is. Do you remember that film? Where there was a love story between Vikram and Suvalakshmi, where there was melodramatic Roja doing the TV interview, where there was vadivelu’s comedy track?
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Lakshman
September 7, 2008
Mr.Rangan, i loved your earnest reviews but have you reviewed Katradu Tamizh by any chance? I would love to read it. Jeeva is the most underrated actor of the current lot i guess..
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Rahul
September 7, 2008
Brangan: (Off-topic) I would love to read a piece by you on the best actors In Indian cinema, in your opinion.
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raj
September 8, 2008
Rahul, and I guess BR would be afraid, very afraid, to do that 🙂
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raj
September 8, 2008
This is a delectable piece of writing. After quite some time, that ‘click’ happened when everything fell into place for me as a fan :-). I am just talking about the writing.
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brangan
September 8, 2008
Lakshman: Sorry, didn’t get to review KT.
Rahul: If you’ve been following this blog, I’ve already discussed this several times. I don’t know about “best,” but my favourites include Kamal, Naseer, Amitabh, Aamir… and among the newer lot, I’m a big fan of Irrfan, Ranvir Shorey and Konkona.
raj: Thanks. Vashishtar vaayala… 🙂
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Anand
September 8, 2008
BR..You have left out some names(not intentionally I hope) 🙂
IMO, the following actors either do justice to most roles they get or understand their limitation and mostly do roles that suit them!
KayKay Menon, Boman Irani, Om Puri, Vinay Pathak, Zakir Hussain, Paresh Rawal, Arshad Warsi,
Lal, Mammooka, Nasser, Delhi Ganesh, Lakshmi, Shobana, Pasupathy, Nedumudi Venu, Srinivasan, MS Bhaskar
The above list is only top of the mind.
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Aditya Pant
September 8, 2008
BR: Unrelated topic: You had mentioned in one of your comments that Mithya is this year’s film to beat, but you’re wary of catching it the second time to avoid any disappointment. I watched it again on TV yesterday, and I must say it holds up very well. It IS this year’s film to beat! IMO 🙂
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Shalini
September 8, 2008
Thanks for the dual thoughtful reviews, BR. Your write-up makes me want to see Tahaan very badly indeed, but I don’t think I’ll be able to bear seeing *my* Kashmir through Sivan’s virtuoso lenses.
Ah well, at least there’s “A Wednesday” for me.
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brangan
September 10, 2008
Anand: Oh, I was just talking Hindi – but if you’re going into regional cinema, there’s a ton of others. Maybe a column *is* in order 🙂
Aditya Pant: I’m glad. I’ve been meaning to catch it again.
Shalini: *my* Kashmir? I think you should see it nonetheless.
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Shalini
September 10, 2008
BR, yes – Kashmir is home for me, thus I have no capacity for emotional/intellectual detachment when watching a movie set in present-day Kashmir.:-(
Btw, did check out the trailer for “Tahaan” and noticed something that perhaps only a Kashmiri would catch – the pronunciation (Kashmiri and Urdu/Hindi) is more than a little off.
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bart
September 11, 2008
Late but not too late.. Saw “A wednesday” this wednesday. A very much entertaining, thought provoking movie that I enjoyed till the end.
When the inspector show Anupam the slide show of terrorists, he shows the eyes alone of the supposed “Master-mind” who takes a striking resemblence to Naseer’s eyes. Also the description of this Master-mind is that he is a simple man whose wife herself doesn’t know what he is into. Clever way of fooling or getting the audience to believe. Again the bag that is placed in Railway station .. All these clever layers make the final speech of Naseer a pleasant shock. Wonderful delivery by Naseer that made it believable. A lesser actor or a director could’ve made this downright silly.. Can’t imagine anyone else other than Naseer and Anupam in these roles.
A lovely wednesday overall.
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Ramkumar
September 12, 2008
BR Saab,
Sorry to go off track..Im eager to read an obituary for Kunnakudi in ur words..Very eager to hear ur views about his music and his stature.. Could u plz??
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Kaunquest
September 12, 2008
the blue umbrella was also an interesting movie.. i hope to watch Tahaan someday soon..
The hindi movie industry has soo many unused talents.. its unfortunate.. Naseerudin shah and Anupam kher perhaps top the list!
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Tejas
September 12, 2008
The one thing I am very glad about in some recent movies is the reincarnation of Naseer, Anupam Kher and Paresh Rawal as actors and not just caricatures. Ironically a C-Kkompany releases just before Tahaan and A Wednesday and overshadows Anupam Kher the actor. But the best thing that happened this year is the advent of new mighty directors in Hindi films, and such luminous performance which reduce the flaws in the story and presentation to a minuscule level.
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sugu
September 16, 2008
I know I’m late. The basic rule of a good thriller is not to cheat. You can confuse, take them along different routes but in the end plug all the loopholes you’ve created. For me Wednesday was sheer cheating. The biggest thing is the photograph….why was it so so close to Naseer that even a blind man could say its Naseer!!!!
And till the end you give no explaination for that. Till that photo is not shown I was sure about the end but with the photo my doubts were plugged…..but in the end wwhat I’d thought as the end is what took place….but what happened to the photo???? who was that???? Just to con me cheaat me the film maker used it….so sorry the writer and the maker….its just simple con job….not a good thriller
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Prakash
September 23, 2008
A Wednesday is at the top of my all time great movies in terms of IMPACT. I completely justify Naseer’s action-Ahimsa is not for barbaric terrorists. They got a taste of their own bitter medicine. The other point is the perfect casting-its one of those rare movies with legends like Nasseruddin Shah (amazing screen presence!), Anupam Kher & even the younger actors acted brilliantly. Even the traces of humour in the movie were really good. I have sort of become a brand ambassador for this movie 🙂 The climax dialogues in the movie were not preachy for me-what Nasser was saying was very practical & logical.
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mukesh
September 29, 2008
GR8 MOVIE ,, MUST WATCH,,, SUPERRRRB — NASEERUDDIN SHAH AND ANUPAM KHER – STUNNING PERFORMANCES. aamir bashir , jimmy shergill – hidden diamonds. i m overwhelmed by this movie == step up its neeraj pandey,, way to go . can anyone also tell me who his the gorgeous ,long haired dusky beauty playing aamir bashirs wife?
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Aditya
September 30, 2008
I think I agree with your ‘RDB’ point, although, unlike here, I wasn’t particularly impressed with RDB’s execution – I watched almost the entire second half with a sour face. Even here, the final ‘achchha tha’ line trouble.
An especially pleasing moment in the movie was when Ibrahim is pleading for his life, and starts a sentence in Hindi: ‘Marne se …’ and then pauses and shifts to Urdu: ‘Maut ka khauf nahi hai …’
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Aditya
September 30, 2008
So sorry. Silly typo.
“Even here, the final ‘achchha tha’ line trouble.”
I meant to say ‘troubles me.’
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Radhika
March 1, 2009
Thinking about the last scene, when Naseer tells Anupam that there were no more bombs lying around, Anupam says “jaanta hoon”. Which made me wonder : did he allow Ibrahim to be killed anyway because he found it repugnant that such a man almost got freed? And therefore was an accomplice in the vigilantism? And did he go to just meet Naseer and not to arrest him?
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mvky
February 3, 2024
Naseer and Anupam Kher make a good pair. Just watch Pestonji when taxi fare was in paise. Vivacious Kirron Kher played a grey role but I liked her. Shabana played a typical loving all things western parsi lady suffering from ailments but who was also talented, straightforward, honest and ultimately betrayed by her husband. The film started with all parsi tropes and then the real story got me hooked when the best friends Naseer and Anupam Kher got separated. It is on prime.
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