Spoilers ahead…
Who is Durga Rani Singh? The name forms the subtitle of Sujoy Ghosh’s Kahaani 2, and it belongs to the character played by Vidya Balan – but who is she? Is she a construct from the last scenes of the earlier film, where the Balan character literally turned into an avenging Durga? Is she the same character? After all, that film was a web of lies, and we were no closer to knowing its heroine at the end than we were at the beginning.
Or are we seeing shades of that character we couldn’t see in that film? Like the fact that she may have been abused as a child. Like the fact that she is so jittery, everything makes her jump. (Kahaani 2 is filled with disorienting close-ups. The camera is itself jittery.) Like the fact that she seems to hate men (and seems to think that at least one man, named Inder, hated her.) Like the fact that she’s so withdrawn, so scared of relationships, of letting someone into her life. Or is all this an act too, a web of lies that this film is spinning? Early on, the Balan character writes in her diary that it’s been eight years and dheere dheere sab theek ho raha hai? Eight years since… the events depicted later in this film, as a flashback, or the events of the earlier film? Just how reliable is this narrator?
In other words, Kahaani 2 is very much a successor to the earlier film. This one, too, is about (a) a character named Vidya but called Bidya by the Bengalis around her, and (b) a mother (though not in the biological definition of having carried a child), and (c) there is a sympathetic cop (Arjun Rampal, who’s surprisingly good) in the picture, one who may be soft on her, and (d) we have a Bob Biswas-like assassin, one whose day job is at odds with this “hobby” (this time, it’s a deliciously evil female cop), and (e) the detective story makes way for a larger “social” narrative (terrorism in the earlier film, child sexual abuse here), and (f) there are two parallel instances of sleuthing, one by the Balan character and one by the police, and (g) things don’t exactly stand up if you think about them too much. Towards the end, we get a scene that is such flagrant misdirection – someone pretending to have lost it and “acting” so that we’d be misled – that I didn’t know whether to chuckle at Ghosh’s shamelessness or fling a shoe at the screen.
But I like this series, and I hope there are many more episodes from the life of Vidya/Bidya, even if they are little more than permutations and combinations of a set of building blocks. Like the ones listed above. Like the shock twist involving the Balan character. In the earlier film, it came at the end. Here, it comes at the beginning. Her daughter goes missing and she’s in a panic and she runs out of her home and you think she’s following an instinct or maybe a lead and… BAM! She gets hit by a car and spends the first half of the film in a coma. (It’s not a spoiler. It’s in the trailer.) Few films work so hard to keep rewarding us in return for our (admittedly huge) suspension of disbelief. There’s a lot of sly humour. Like this line by the Arjun Rampal character’s wife (Rashmi, played by Manini Chadha), when he shows no signs of returning home: “Koi doosri biwi mil gayi hai kya?” The way this line turns true made me laugh out loud, as did the portions about the police coming closer to nabbing Durga’s husband. Kaahani 2, like its predecessor, is more than just a thriller. It’s a drama. It’s a game with the audience.
For instance. Are the older film songs just random selections, just something blaring out of radios? Or are they allusive? Is Aaya sanam aaya deewana tera, from Bade Dilwala, just one of Ghosh’s favourite songs of the RD Burman-Kishore Kumar combo, one son of Kolkata hat-tipping a couple of others? Or a nod to that film’s storyline about assuming another identity? What about Yeh raatein nayi puraani, from Julie? Because it’s from a film about an unmarried woman who contemplates motherhood? Or because the next line contains this film’s title? “Aate… aate jaate… kehti hain… koi kahaani…”? Is that why we later hear the Ijaazat number Chhoti si kahaani se? Or does that come in because that film, too, deals with a man torn between his wife and a woman of mystery? At least the homage to Rajnigandha is no mystery. Its heroine is Vidya Sinha (one of the Balan character’s names here), and like her, this film’s heroine has a man in her past, a man in her present.
But Ghosh isn’t just a postmodern prankster, toying with shlock-pulp devices like the all-revealing diary. He’s a damn fine filmmaker. He immerses you in an extraordinarily textured world, the sleepy town of Chandannagar whose police station, so far, has not found the need for a register to record evidence because nothing ever happens. With the exception of the character played by Jugal Hansraj – though even he gets a thing; he’s into origami, folding paper into itself the way this narrative folds in on itself – everyone’s so vivid that they need just a scene or two to make an impression. The elderly neighbour who dozes off while helping a cop. The cop whose gut instincts don’t always pan out and who wants a promotion. The senior cop (the delightful Kharaj Mukherjee) who pockets that promotion. The female patient in a hospital bed, the one with the vacant stare. The doctor worried about mounting medical bills. The imperious grandmother who lives in a terrifying ivory tower. The passport forger who also makes copies of the Mona Lisa. Pick any character and you could slip into a parallel world, a parallel story. You may not buy a minute of Kahaani 2, but you cannot escape living in it – this is first-rate cinema.
And Balan, after a long time, finds her groove again. It’s probably the part. Compare her with Aishwarya Rai in Jazbaa – another film with a mother out to track down her kidnapped daughter – and you see the difference between Miss India and Mother India. Kahaani 2 opens with Vidya/Bidya/Durga/Whoever doing chores. She dusts. She hangs clothes on a line. She comforts her daughter after a nightmare and oversleeps and rushes to work in a cotton sari she hasn’t found the time to iron or starch. And at work, she’s thinking of home. At times, the thriller she gets embroiled in seems almost beside the point. I don’t think I’ve seen another genre film that revels so in its heroine’s ordinariness – except, of course, when she’s being extraordinary.
KEY:
- kahaani = story
- dheere dheere sab theek ho raha hai = slowly it’s becoming okay
- Kahaani = see here
- “Koi doosri biwi mil gayi hai kya?” = Have you found another wife?
- Jazbaa = see here
Copyright ©2016 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Uday
December 4, 2016
Vidya Balan over-acting in the climax was so out of character that maybe it was Ghosh’s way of telling us that we shouldn’t trust in what’s unfolding on screen. I did walk out of the theater satisfied though I did think this movie lacked any of the ‘Holy Shit!’ moments that the first one had.
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MANK
December 4, 2016
And Balan, after a long time, finds her groove again. It’s probably the part. Compare her with Aishwarya Rai in Jazbaa – another film with a mother out to track down her kidnapped daughter – and you see the difference between Miss India and Mother India
Huh, Line of the day 🙂 . its too bad Vidya’s career is in a slump. i think she got tad too over confident after back 2 back successes of TDP and Kahaani and made a lot of wrong choices. also feel there is a certain prejudice against her – as she is not the usual glamorous filmi heroine – and the top mainstream filmmakers just dont approach her because of that.
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Honest Raj (formerly 'V'enkatesh)
December 4, 2016
Now, I don’t have to watch the film. 🙂
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jam bajar jakku
December 4, 2016
I think the film was a seriously confused piece of work and did not treat child abuse with the seriousness with which it seemed to set out to. everything seemed way too rushed and i came out very disappointed
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brangan
December 4, 2016
sujoy ghosh tweeted this 🙂
thank you @baradwajrangan for this awesome piece. forever indebted for getting the songs :))
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Vani
December 5, 2016
Very mean comment towards Aishwarya. I am sure she would have done a good job too if she were directed by a good director like Sujoy. And Vidya wouldn’t have been as good as she was in Kahaani 2 had she been directed by a hack like Sanjay Gupta.
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Anu Warrier
December 5, 2016
Watched the film today, and was very, very impressed with it. The performances were top-notch, the storytelling was excellent, and it was only after I reached home that I wondered about a couple of loose ends that I wish were tied up.
The husband and I are wondering whether we should watch it once again just to discover why something was the way it was; if you knew my husband, you would know it’s high praise for a film. 🙂
I agree with you, BR; I would love to watch more episodes from Vidya/Bidya.
@MANK: just for you, Vidya unplugged. 🙂
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Srinivas
December 5, 2016
TBH, was not really a fan of Vidya Balan, but this performance was something else. It was so great to see her on the screen and giving her all. And wish that the writers had been more careful with the second half – it would have been one hell of a movie. Loved it anyway.
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theimportanceofbeingkaranjohar
December 5, 2016
@BR, which scene is ‘flagrantly misdirected, in your mind? Could think of a couple..
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brangan
December 5, 2016
theimportanceofbeingkaranjohar: which scene is ‘flagrantly misdirected, in your mind?
Not ‘misdirected’… but ‘misdirection.
SPOILERS AHEAD
The scene I was talking about is this: She doing the thing with the kerosene at the end.
I can understand if she is “acting” for the benefit of the cop, but even in the close-ups with the daughter, she is still in that mode — and that’s to ‘misdirect’ us, the audience.
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Ramchander Krishna (@ramctheatheist)
December 5, 2016
Noooooo! Rangan, I’m sitting here screaming like the Ramana villain when he spots Captain alive on CCTV!
I was hoping you’d underline this movie’s fatal flaws in structure but you’ve sidestepped them by labelling it “genre cinema”.
Ok, assuming it’s indeed a genre film, didn’t you feel there was no thrill involved? The moment the girl said “They don’t let me sleep”, it was obvious she’s being abused. And that’s what it turns out to be. You’ve compared the female police here to the hired assassin from the first part. But, she only appears twice and there’s hardly anything chilling she does other than whack Vidya on the head. Even that whack wasn’t shocking, cos just a moment ago she asks, “Did you tell anyone else?” You can almost hear the whack coming. Also, when you hear that Durga Rani Singh is wanted for murder and for kidnapping a child, it’s evident she killed either the mom or the paedophile and escaped with the child. But, somebody has kidnapped her child in the present, the paedophile being the more likely prospect. That implies Vidya killed the mom. And given that Vidya Balan is heroine she wouldn’t have intentionally killed her. Cos you know heroines aise nahi karte. But, wait… the girl is handicapped in the present, which means her leg should get broken in flashback. So she must have some sort of fall. All of this you can work out in your head, so there’s zero thrill.
And is it a drama? In Kahaani, you had Vidya crying alone in her room, which you initially assume is for her husband, but is actually at having to playact like she’s pregnant, while she knows she can never bear a child again. Compare that drama to Vidya running back to the spot where she was hit to search for her phone. “Why so much drama? It’s with the beggar! That’s why he had a dialogue in the previous scene no?” said an aunty in the audience, slapping her forehead. And why does she need that cellphone? So that while she’s desperately running to the venue, she can keep looking at it, because she can’t remember the two lines of address in that SMS. Even the relationship between Arjun Rampal and his wife! We don’t care if it breaks up or not, cos we’re hardly invested in it.
You say the characters are vivid. But were they not extremely one-dimensional? Capable of being defined by a single, simple adjective, as you said in another review?
Vidya Balan – thaai paasam
The lady police – greedy
The villain – paedophile
His mom – arrogant
Arjun Rampal’s wife – horny
Arjun Rampal’s daughter (or was it a son? so vivid that I forget the gender) – ummm… young?
Vidya balan’s london boyfriend – chamathu
The kidnapped girl – paavam
In terms of setting, Kahaani gave you a feeling as though you lived and breathed the air of Bengal. In the sequel, Chandanpur could have been any small town in India. Wasn’t the chase sequence in Chinatown district of Kolkata pure tokenism? “Haan thoda kolkatta dikhao!” Make Arjun Rampal talk to some random Chinese-looking uncle who’s happily reading a newspaper. Poor uncle.
Didn’t you think the climax setup was laughable? As Vidya lies in coma, the villain was safely taking care of the little girl all the while? Without causing her any harm? So that once Vidya wakes up she comes and slits her veins herself? Really? So basically child abuser automatically implies psychopath revenge seeker? If this is genre cinema, is the genre called “laughable thriller”? Or is it “pseudo-serious drama”?
Also, wasn’t Kahaani essentially about a woman spinning a yarn and making use of every other person as a pawn, in order to achieve the end that she wants to? In the sequel, isn’t it a guy who hands her the solution on a platter? Also, what’s the big help that the guy actually did? Gets a few gas cylinders delivered and allows himself to be shot.
The sequel to me felt like a film made just because there was a producer willing to put in the money. Maybe the genre is “lure audience saying sequel”.
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jam bajar jakku
December 7, 2016
NAILED IT! Ramchander Krishna! But in cognizance of Baradwaj Rangan’s efforts to philosophize the movie critic or his argument that film criticism is actually an art in itself, i must add that this is a great example of how movie viewing experiences differ from one to another
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JPhil
December 7, 2016
Hey BR ,very happy to see the tweet by Ghosh .Well done you.
Fulfilling to watch this wondrous actress at work.And Rampal was swish too. Mr Ramchander’s critique -above-is not without logic ;there were many giveaways scattered through the film but -as you say-some of the colourful characters made up for it.
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brangan
December 7, 2016
Ramchander Krishna: So when I read your set of points, I’m actually liking the movie more 🙂 Because you do present huge holes, and yet, while watching, none of them even struck me, let alone bother me 🙂
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Anu Warrier
December 7, 2016
Ramchander, looks like you and I were watching two different movies! Like BR there, none of those points bothered me, and now, reading your post, it still doesn’t bother me. 🙂 I liked the film very much, and I thought there was an attention to detail, so the few ‘how did that happen?’ questions I had were answered a few scenes down the line.
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praneshp
December 7, 2016
@brangan: anything on JJ?
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Bharathi Shevgoor
December 7, 2016
I was not unhappy with ‘Kahani 2’. I just wonder if it will be a box-office hit.
You see, what struck me during the interval was that the first part had a rather dreary feel to it and I don’t refer to the lack of glamour. It is that constant look of dread on Vidya’s face, as if there is no redemption. There is very little to cheer the viewer, despite many pockets of relief in the scenes of Arjun Rampal. This cheerlessness, if sustained over lengthy periods, can pass on to the viewer and deflates. It can become a dampener on the viewer’s enthusiasm. Not all are, after all, tuned to appreciate good craft. Most would be happy with a bit of optimism as well. I suppose with a topic like child abuse it would have been difficult to have a jaunty attitude to the whole thing, but that much of intensity can give you the blues.
I’m a staunch admirer of Vidya Balan, so i’m not sure why I ended up being grateful for Arjun Ramapal’s character, other than for being eye candy, of course. Perhaps his lines, situation and demeanor were soothing.
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adroitami
December 8, 2016
Ramachander, the later part of the film definitely leaves a lot to be desired in the plot, but a major part of the film I felt was very well executed. Especially the back story is very well told, I liked the way Vidhya gets inequisitive about Mini and follows up with further action.
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tonks
December 16, 2016
I agree with Ramchander about the plot loopholes. The chase sequence with the passport forger seemed contrived. Wouldn’t a policeman have been more discreet (worn plainclothes perhaps, or been more subtle while approaching) if he’d wanted help from him? Unless the director wanted a chase sequence inserted. Also I agree that it bothered me that pedophile automatically means psychopath which is not true : like Durga says once in the movie itself pedophiles are like anyone else except for their preferences. And I was hugely irritated by the way she botches up her efforts at saving Mini when she was six.
The biggest loophole for me : The lady cop- assassin could have easily murdered Durga in the hospital and Mini could have been murdered separately by Jugal Hansraj. Then why go to the trouble of asking Durga to come to Calcutta ? What’s Jugal’s character’s purpose in doing this? (Other than the fact that but for doing things in such a needlessly dumb manner, there would not have been a second half)
But I liked it despite the weak story line. Overall the movie was aesthetically pleasing, Calcutta/West Bengal always makes a movie classy for me. And I enjoy watching Vidya Balan on screen. What a lovely, mobile, expressive face. I hope she does many more movies that can put her talent to good use.
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Radhika
December 23, 2016
Much spoiler alert
I stopped reading your reviews before watching the movie, ever since you began having so many spoilers in your discussion. I took to glancing at them through slit eyes to get a sense of whether you liked the movie or not – and then I read the review after seeing it, and more often than not, I find myself nodding away at most of your observations. This is one of the rare times it didn’t work. I was given so much negative feedback on K2 by various friends, but the title of your review persuaded me to watch it. And it was fairly watchable. Though I am surprised at the amount of praise it is getting. I agree with quite a few commenters upthread that the performances were all good, but the storytelling was so clunky and contrived. Leaving aside the plot holes – how could she tutor the kid for 9 months without the whole bhanda being phodofied – perhaps Sujoy hasn’t heard of the dreaded institution of the parent-teacher meeting; what on earth were the nasties doing, patiently waiting for her to emerge from the coma; how is vidya (and Mini) so good at shooting that she manages to just nick Inder and not burst bechara Haldar’s femoral artery, how on earth does the conflagration in the end not burn up the whole street, how does a “simple middleclass” girl even manage to get fake papers and passports made, and so on. More than these gaping points, what bothered me was the structual clumsiness. The plot device of using flashback and the diary, were perhaps used to lend greater suspense to the story – by feeding the audiene little bits and hints. But the language in the dairy didn’t read like a woman’s private thoughts – they read like a woman looking back at a time and offering a perspective, a defense, even, of a past. Then the foreshadowing of who she is – from the subtitle to Inder’s reaction – what happened to the suspense? K1 had its Keyser Soze twist, but in this, that opportunity was dissipated very quickly. In the K1 this would not have been given away so fast. Not to mention the unnecessary exposition – like the phone search in the beggar’s sacks, or the longwinded end with the Usual Suspects kind of explanatory montage. And uff, the less said about that manipulative false suspense in the end, with one shrieky mock-hysterical Vidya, the better. The minute she picked up the can, I could see the immigration scene playing out. They may as well have stopped the film at that airport scene – the last few NY shots were particularly annoying with the puppy-dog-face-out-of-the-car-window shot.
[If only this had been the cinematic version of the short story, and Vidya, after a bout of transference assumed the child had been abused, accused the uncle who turned out to be innocent, only to really find that the child was mentally unstable and prone to hallucinations, and that ghosts had kept her awake at night.]
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Madan
December 24, 2016
Serious holes in this one, like Ramchander Krishna pointed out, but then there were plenty of holes in the first instalment too. I guess the makers counted on bringing back those viewers who did really like Kahaani. It’s just the way Sujoy Ghosh makes the film. Where Indian cities feel like the places we actually inhabit rather than some photoshopped paradise on earth and with memorable characterisation too. And this is where I have to disagree with RK’s critique – for instance, not only Rampal’s character but I found the bumbling policeman played by Kharaj Mukerjhee very interesting. His dislike at being bypassed and cut out of the investigation by Rampal, the lusting for promotion, were all very interesting asides without becoming a whole sub plot by itself.
“I don’t think I’ve seen another genre film that revels so in its heroine’s ordinariness – except, of course, when she’s being extraordinary.” – This, so much. I don’t know if I would call it a genre film. I agree with RK that this isn’t much of a thriller and the game is given away pretty early on. But I didn’t mind that at all because I found the film very interesting even so. I would say the difference between the first and the second Kahaani film is that in the first, the crux was concealed right till the end along with a very layered style of narration whereas the second is much more linear but again with a layered approach. And it probably works better if you have seen the first because you’d then expect certain characters to turn out to be sinister whereas they turn out to be complete red herrings.
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Aniket
March 3, 2017
What a beautiful review! Perfectly summed up the movie in that last paragraph. Keep writing!
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Swaroop Kodur
August 10, 2017
Leaving the plot aside, I wonder why there wasn’t much light shed on the technical bit in your review. The soundscape for example; the dubbing is spotty, there’s nothing ambient except the occasional footsteps. Vidya Balan’s makeup too is also very amateur; her hair is not naturally frizzy, the bruise on her face later in the story is quite unreal. There are way too many “promotion” references made by the cops and the procedural part seemed very laid back (not in the real Indian sense of it but in the story too, there seemed no depth). Arjun Rampal’s wife in the movie learns about his first marriage. She chooses to settle it with a conversation about “trust”. Are we sure there are not obligatory moments?
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