Into what genre, if any, do we slot Sujoy Ghosh’s Kahaani? The completely unexpected beginning appears to hail from a spotless sci-fi universe. The end, on the other hand, yanks the story back to our world, to our country, for a rousing stretch of mytho-classical drama where Woman transforms into Shakti, the vanquisher of demons. Sandwiched between is a police procedural – at least on the surface. A heavily pregnant Vidya (Vidya Balan) comes to Kolkata from London seeking her missing husband Arnab (Indraneil Sengupta). She heads straight, from the airport, to the police station to file a missing person’s report, and finds the cops struggling with a computer that constantly displays a System Error message. This is no accident, we discover, when someone declares, later on, “System mein zarooor koi mistake hai.” Thus we land on a paranoia thriller, filled with cover-ups by a ruthless Establishment. The System, in other words, is truly in error.
Ghosh’s gamesmanship isn’t restricted to the type of film he makes us guess he’s making. He saves his biggest rug-pulling feat for the end, which makes us see everything that happened earlier in an astonished light. This, to me, was the weakest part of the film. I enjoyed it as it unfolded, but the more I thought about it, later, the more cheated I felt by a character whose tranquil past doesn’t hint at this transformation in the present. But that’s a nit, really, considering how expertly the director toys with us (or cheats us, depending on how you see this sort of thing), and how exquisitely everything adds up – the resolve, for instance, in Vidya when she admits, about finding her husband, “Itni aasani se nahi. Mujhe dhoondhna padega.” Or the real reason she turns away, with tear-flecked eyes, from her compatriot, the kindly police officer Rana (an excellent Parambrata Chatterjee, who has a heart-rending moment, towards the end, involving a receipt for a sari), when he says that she will make a wonderful mother.
Part of the paranoia, on our part, also arises from Ghosh’s cool thwarting of the expected. Why, we wonder, is Vidya so matter-of-fact, with little of the edginess that might accompany a third trimester in a hostile country, whose figures of authority blow smoke into her face unmindful of her condition? Why does she laugh so much, treating the quest for her husband like an adventure, erupting with glee when another clue is unearthed? Why doesn’t she share her anguish – and surely there is some anguish – with a mother or a friend? Why doesn’t she ever enter a hospital for a check-up? And then, we discover why. Kahaani isn’t what you’d call a major movie – it’s more a taut little genre exercise – but the highest compliment we can give Ghosh is that he takes a host of clichés (the eccentric assassin, the mole in the higher-ups of the System, the rookie cop learning the ropes, the premise of Frantic or the latter half of Roja; there’s even a scene where Vidya, like Roja, has to identify a corpse at the morgue) and makes a film that looks compellingly one-of-a-kind, at least in an Indian context.
Kahaani is beautifully shot and put together, and its deeply atmospheric scenes are driven by a superb score that employs compositions – Tere bina jiya jaaye na; the Bengali version of Jeevan ke har mod pe – of that most beloved of Kolkata’s composers (and equally adored by the director of Jhankaar Beats). Except for a couple of heavy-handed moments – like the one where Vidya voices, for our benefit, the reality that everyone in Kolkata has two names (“ek hi insaan ke do-do naam, alag-alag pehchaan”), or when a man who admonishes another to get a mobile phone is cast into trouble through his own mobile phone – and perhaps the Big Reveal at the end (which still works while watching the film), Ghosh does almost nothing wrong. (The time may be right to revisit Home Delivery, which was largely dismissed as a disappointing follow-up to the delightful Jhankaar Beats, but whose self-indulgence may have been tempered by time.)
Ghosh is helped by a uniformly wonderful cast, right down to the manager of the ratty hotel who, upon learning that Vidya is from London, addresses her as “Your Majesty,” and the brusque officer Khan (Nawazuddin Siddiqui), who learns not to smoke in front of this pregnant woman. The film, of course, belongs to Vidya Balan, who plays Vidya as the most normal of people, swallowing her anger and impatience because she knows there’s a job to be done, smiling at the innocent pleasures provided by interactions with children, fleeing in blind panic when her life is threatened, wondering if she should have worn a sari to meet her husband’s relatives. When the police ask her how tall her husband is, she raises a hand in the air to submit an approximation. At least at that moment, we see not an actress playing a part but a wife who recalls her husband not in terms of cold statistics but as someone who, till now, was always by her side. Vidya Balan received the National Award a few days ago. Now, finally, she comes up with the performance that deserved it.
Copyright ©2012 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
KayKay
March 11, 2012
The pregnant sleuth at least owes something to the Coens’ Fargo, no?
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pr3m
March 11, 2012
So many spoilers, I had to stop mid way.
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shazia
March 11, 2012
Just returned from the theatre!
Your review and eye for detail are excellant.
Thanks for pointing things like the two names the system errors and mobile used to nab the person who advocated its use, which were glaring clues and these things a book reader misses while watching a movie but a movie reviewer just can’t miss it. 🙂
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Vasisht Das
March 11, 2012
” Vidya Balan received the National Award a few days ago. Now, finally, she comes up with the performance that deserved it.”
Bingo.
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sankhayan
March 11, 2012
“The completely unexpected beginning appears to hail from a spotless sci-fi universe. The end, on the other hand, yanks the story back to our world, to our country, for a rousing stretch of mytho-classical drama where Woman transforms into Shakti, the vanquisher of demons.” –
The closest I can think of it being to is *Bengali Pulp Fiction* molded as a thriller. The opening sequence, especially, harks back to a genre mastered by Satyajit Ray, in his short stories and novels(the Sci fi bit reminded me of Professor Shonku, a maverick scientist and one of Ray’s most popular fictional characters). And all through Kahaani, I could sense a Ray connection. In fact, they seem to be plenty, now that I sit back and think. The Mona Lisa Guest House is very, very close to where Ray’s legendary Bengali sleuth Feluda lived.- Sarat Bose Road(an otherwise unlikely choice of a premise given most Hindi films recognise this Calcutta-ness with it’s archaic, monumental mansions of the North). And it also makes sense to draw an analogy between Vidya’s character in the film and the great Bengali detective!
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sankhayan
March 11, 2012
I suspect it owes more to Feluda and Kill Bill.
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Shalini
March 11, 2012
Loved the Calcutta setting and the non-retro, non-hip use of RDB’s music, but I can’t shake the feeling that the entire movie was a wee bit…silly. The natural consequence of having seen too many movies of the “twist” variety, i suppose.
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jitaditya
March 11, 2012
It’s mainly the manipulative flashback portions early in the film that diluted the impact of the film for me… Still a good film & great performances…
Was expecting to see your views on Pan Singh Tomar…
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Rahul
March 11, 2012
I think Sujay Ghosh deserves all the credit for this gem of a movie. This flim is a lesson to the film makers who think established names, visuals in Europe , loud BGM or catchy soundtrack can be a substitute for creating characters with such passion , detail and sense of quirk and getting solid actors to play them. To me, this movie was pitch perfect – well except for the last scene, but , really, it was over before that.
In a movie that can probably be best categorised as a mystery/suspense/thriller, my two most favorite scenes have little, if anything to do with the narrative. The time when Rana is sitting with Vidya on the computer – and he feels a sexual tension in himself-.The other scene, when Rana was letting his emotions for Vidya come through in his voice – a split second when Khan takes stock of the situation , a quick, taunting smirk to himself and then continues with his characteristic growl.
Scenes like these have been shot and acted with split second precision- and when I have something like that to enjoy, if the larger picture isn’t as perfect, does not matter to me.
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Vasisht Das
March 11, 2012
this is probably the first time dr.rangan has been carless with his hints regarding the crucial spoiler – considering that it’s the one truly surprising revelation towards the end of Kahaani that delights us.
if i hadn’t already seen the movie on the first day, i surely would have hated it.
my not-so-humble suggestion: it’s still not late; please edit and rephrase the para starting with “Part of the paranoia…”
thanks!
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civic
March 12, 2012
Thankfully I’m not the only one who felt cheated. Found it quite manipulative conceptually though there were quite a few moments that could be relished. Also the ‘saviour rani/durga ma’ connotation in the end was too literal to be told through a voice-over.
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rameshram
March 12, 2012
Dr Rangana…
inna kannu? ponnaai potthitangala?!
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miss.anthrope
March 12, 2012
mobile used to nab the person who advocated its use? didnt get that… maybe i missed it
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rameshram
March 12, 2012
You guys are such unlettrred idiots haven’t you even seen films in life? If not 50s films at least 90 s or 2000 s remakes?
Jokers!
(Psst the truth about Charlie)
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Anurag
March 12, 2012
Fantastic review and absolutely outstanding film for me. We already have best actor of the year- Irfaan and best actress -Vidya – again!! Kudos to Sujoy Ghosh for making a cinema that is truly in line wit hollywood standards without using a single foreign location. The mild references to the assassin concepts in bourne series was truly delightful to watch in an indian film- totaly took me by surprise because thats the last thing i expected in a film with a pregnant woman as the only lead.
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losingnow
March 12, 2012
Spoiler Alert..
For those who have read the millenium trilogy..
Lisbeth = Bidya (the wronged woman hacker), Blomkvist=Rana(the sympathetic sidekick), Zalachenko = Milan (the turncoat), Section = IB Cabal
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rameshram
March 12, 2012
http://www.alluc.org/movies/watch-charade-1963-online/123353.html
http://www.youtube.com/watch?v=TNK41PCTth8 (this is only the trailer)
here! the free education is on me.
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shazia
March 12, 2012
The man Bhaskaran asks the retired captain to use mobile and he got caught because of his mobile number found in sridhar’s computer.
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shazia
March 12, 2012
unlettered idiots? How?
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Shazia Masood
March 12, 2012
Thanks for the free info!! 😀
And no I am not much of a movie freak that’s why more often than not, I read reviews here!
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KayKay
March 12, 2012
“unlettrred” idiots….Oh the irony!
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munimma
March 12, 2012
good movie and a good review. Totally Bidadi’s movie. And P. Chatterjee was excellent too. I don’t want to undersell her performance in ooh la la, but your last line nailed it.
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rameshram
March 12, 2012
hah for once I can’t take responsibility for that. it was my unlettered phone from the dark of the movie theater.
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rameshram
March 12, 2012
correct its a “truth about charlie” screenplay with a few cosmetic trappings of the Millennium trilogy.
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brangan
March 12, 2012
Vasisht Das: The (relative) spoilery-ness of my reviews are generally a known fact, I thought. Hence the recommendation that you read this after the film, not before.
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rameshram
March 13, 2012
Full movies of santosh sivan on youtube.
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Mohit
March 13, 2012
Sir, would like to know what you thought of Paan Singh Tomar.
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brangan
March 13, 2012
Kay Kay: No, this isn’t a “Fargo” thing at all. If anything, the pregnant cop in “Mounaguru” might have been inspired by “Fargo”.
sankhayan: Thanks for those Kolkata-Ray inputs. Obviously, this picture played for you (in the positive sense) the way “The Dirty Picture” played for me (negatively).
jitaditya: Why do you say “manipulative flashback portions”? Part of design of these movies is to hoodwink you, no?
Rahul: Reg “shot and acted with split second precision,” I totally agree and I just learnt this morning that Setu, the cinematographer, is from kerala. I wonder what’s in the water there that it produces such gifted technicians. I loved the way he shot Kolkata, obviously, but I was especially impressed by his (and the director’s) refusal to do these look-ma establishing shots. For instance, when we see Vidya and Parambrata in a tram, ther’s no long shot of a tram (“See, This Is a Tram, This is Kolkata”). We are right into the semi-flirting inside the tram.
I guess that’s why the over-detailing of the puja atmosphere in the end (from the point they go through the corridor lined with unfinished Devi sculptures) got my goat a bit. But given the trajectory the story (and the character) were taking, I guess this was inevitable.
rameshram: I’m assuming you meant ponnaadai (golden shawl) and not “ponnaai” (golden shit). With you, one never knows 🙂
Mohit: Not seen the film yet. Soon, hopefully.
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rameshram
March 13, 2012
haha that’s right. posting from the phone is a perilous enterprise. where’s kay kay to provide clarifications when you need it!
ponnaDai indeed.
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rameshram
March 13, 2012
“I guess that’s why the over-detailing of the puja atmosphere in the end (from the point they go through the corridor lined with unfinished Devi sculptures) got my goat a bit. But given the trajectory the story (and the character) were taking, I guess this was inevitable.”
You know I think this was what I call in films a “wasted metaphor opportunity” What a decent director (someone like satyajir ray) would have done, is paced the film around an ENOROMOUS durga under construction from a blank space to the dressed goddess in full color and then closed with the immersion shot , thus choreographing the film like a slow chandralekha dance.
but I guess the director’s mind was too full of dragon tattoo….(which is a shit reference 😉 ).
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Jitaditya
March 13, 2012
Mild Spoilers
********
BR
Well, yes it is supposed to hoodwink us but directly showing the face of the wrong guy & later telling that he wasn’t the guy was a bit difficult to accept, the photographs would have been enough…
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munimma
March 13, 2012
tut tut BR! spoileryness of your reviews is ;-P
“For instance, when we see Vidya and Parambrata in a tram, ther’s no long shot of a tram… ” – see, this is why I like your reviews! That analysis and finding all the subtleties for us.
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sankhayan
March 15, 2012
brangan: Setu was born and brought up in Cal, not just that, he studied the same course as mine in the same college. 😛
The kind of love and care the camera work in Kahaani reflects is only possible from someone who LOVES Calcutta, the kind of love that you can only have for your *own*. An outsider, no matter how competent, would’ve tried finding beauty in the obvious, and probably would’ve ended up framing a long shot of the tram.
Had this 4 year old telegraph interview in mind, and fortunately found it.
And there is another strange co incidence here. Saat Khoon Maaf cinematographer Ranjan Palit is his uncle, who’s house he apparently spent most of his college days learning the camera. Now, the Mona Lisa Guest House shown in Kahaani is right across the street where Palit stays!
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sankhayan
March 15, 2012
Here’s the link to the Setu interview that came out soon after TZP.
http://www.telegraphindia.com/1080111/jsp/entertainment/story_8766468.jsp
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Sandhya
March 15, 2012
BR – You have GOT to see this: a fantastic interview of Sujoy Ghosh (more like an ‘adda’ session between two babumoshais) with the kind of multi-layered discussion that cinephiles live for! http://www.telegraphindia.com/1120314/jsp/entertainment/story_15245793.jsp
Warning to the rest of your readers: The piece has dozens of spoilers. Kahaani was obviously not just another film for Sujoy; more like a crucible of a lifetime of influences.
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munimma
March 16, 2012
looks like if Sujoy has his way, we will see sequels upon sequels of Ms. Bagchi, a la Feluda. Good or bad? Too much of anything… ?
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the palagaara kadai
March 18, 2012
Very well played movie saar. Liked the layers beneath the surface. Like “Satyaki, Krishna ka sarathi” being pretty much the person who carries Vidya throughout Kolkata and acts as her guardian angel, and receives a letter addressed as Satyaki at the end. And Vidya Balan. wonder what she has in her eyes that speak so much.
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Manreet S Someshwar (@manreetss)
March 19, 2012
I watched Kahaani yesterday and thoroughly enjoyed it. Had avoided reading your review, which is excellent.
Bida Bagchi khub bhalo, and Sujoy Ghosh does a great job with storytelling and direction. The film evoked the city it was set in brilliantly and reminded me of Manorama Six Feet Under, another film that used the tropes of crime/thriller genre to explore contemporary India in a distinctly Indian sense. Heck, how many assassins travel by hand-pulled ricks?!
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pr3m
March 20, 2012
Never felt it more with any other movie. I still haven’t had the chance to see this, and I’m desperately trying to forget this, so I can watch the movie with an open mind.
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Celluloid Diary
March 20, 2012
The movie was really beautifully shot. For someone who has lived in Kolkata, watching the movie was a sheer nostalgic experience. The pace of the movie was its strength. However the spy work was not as taut. I could find several loopholes in the movie – why was a publicly available mobile number stored as an alpha code? Why was that the most important clue? There were many glitches like that which actually made the solution too simplistic. Suit ghosh – who had the courage to let the movie ride on the shoulders of a pregnant woman – should have gone a step further and made the story more taut. I guess he was swayed by the idea if making the movie simple enough for the masses.
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Surendra Nath Misra
March 20, 2012
brangan: Seti is not a malayalee.His “bhalo” is Satyajit Pandey,a uttarakhandee by parentage but born and brought up in Kolkata.
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Surendra Nath Misra
March 20, 2012
Sorry for typos in the earlier post.Setu is Satyajeet Pandey.Not from kerala, but is of uttarakhandee brahmin ancestry.Make no mistake, he is a full blooded kolkatan.Speaks fluent bangla as any of Kolkatans.
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Debasisha Mohapatra
March 21, 2012
BR;Please read the telegraph interview link above.Your misconception about Setu being a Malayalee will be dispelled.
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Mambazha Manidhan
March 21, 2012
BR, What do you think of the usage of the montage shots in the film’s language? Like before every scene..
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brangan
March 21, 2012
Celluloid Diary: I doubt that, even with all the explanation at the end, this is a film “simple enough for the masses.” As others have pointed out, there is a lot going on at every point, and I’m not sure that the non-multiplex audience (and one not *used* to a certain kind of cinema) is going to enjoy this.
Mambazha Manidhan: You mean the Kolkata shots? But that’s what makes the film so richly atmospheric, no? The fact that the city is so “invisibly” shown.
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prinks
April 2, 2012
“As others have pointed out, there is a lot going on at every point, and I’m not sure that the non-multiplex audience (and one not *used* to a certain kind of cinema) is going to enjoy this.”
I think there is a gradient within the multiplex audiences too. Agreed that the film isn’t very simple but Ghosh had to use a Bollywood-ized climax filled with exposition keeping in mind this ‘middlebrow’ (so to speak) audience. We see such films in Hollywood as well (recent Liam Neeson films come to mind). They aren’t high-brow, nor are they low-brow, but somewhere in between. Isn’t it too simplistic to divide Hindi audiences into multiplex and single-screen? Isn’t there, for example a difference between the target audience for Paan Singh Tomar (more ‘elite’ , forgive the snobbery) and Kahaani (not-so-elite), both multiplex films in their own right?
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pr3m
July 28, 2012
I loved the second shot that you mentioned as well. The smirk was unmistakable, and was done very well.
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Shankar
August 5, 2012
I saw this only today…was struck by the way it was exquisitely shot, especially the first half. The color tones were amazing…
Also I love what multiplexes are doing to Hindi cinema…just wish they had a similar influence on Tamil as well, instead of Mankatha, Unga Atha etc 🙂
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saat modelleri
October 6, 2012
When I originally commented I appear to have clicked on the -Notify me when new comments are added- checkbox and from now on every time a comment is added I get 4 emails with the same comment. Perhaps there is a means you can remove me from that service? Thank you!
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brangan
October 6, 2012
saat modelleri: I’m not sure what to do, but if someone can help, I’ll be happy to change those settings…
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