Spoilers ahead…
The key scene in Bhoomi, as I see it, is the one where Bhoomi (Aditi Rao Hydari) is abducted… again, a day after she was raped by Dhauli (Sharad Kelkar) and his men. They thought she’d suffer silently, but now that they know she’s talking about it, they want to kill her. On the day before her wedding! The director Omung Kumar stages the scene on a bridge. Bhoomi tries to jump. A man grabs her hair in time, so she is suspended, almost literally, by a thread. Dhauli delivers the coup de grâce. He whips out a knife, slashes through the clutch of hair, and sends Bhoomi hurtling down. Now, Dhauli whips out his gun and shoots into the waters below, to ensure the job gets done.
What does this accomplish that a simple bullet through the head, right off, wouldn’t? For one, we wouldn’t get the slo-mo shot of Bhoomi falling, her embroidered red wedding lehenga billowing in the wind. (Omung Kumar likes his visuals.) We wouldn’t get the shot of her under water, the bullets from Dhauli’s gun whizzing past her flailing form. And we wouldn’t get the echo of the earlier scene where Bhoomi’s father, Arun (Sanjay Dutt), was massaging her head, marvelling at her thick, black, lustrous hair. Ah, the tragedy! Had Bhoomi gotten herself a pixie cut, the man on the bridge wouldn’t have been able to hold her back when she wanted to jump. You know what they say: Bride goeth before a fall!
The problem with Bhoomi isn’t the loud, old-fashioned storytelling. It’s that it finds nothing interesting to tell. It’s the third inter-generational rape-and-revenge drama (not counting Kaabil, which was about a couple) this year, after Maatr and Mom, and unlike those films, it’s a father and daughter narrative. So why not establish father and daughter a little more convincingly than having him refusing to eat before she’s eaten the food he’s made with his own two hands? Omung Kumar may be the first filmmaker to see Sanjay Dutt as Ramu kaka. The relationships are generic, with a trait or two given to each character. Bhoomi speaks with a stammer. Arun drinks. She dyes his hair. He makes footwear. It’s not enough. They feel like they’re going through the motions, that they’ll return to their caravans once the director yells CUT.
The writing never convinces us that this world, these people are real. We’re supposed to infer that Bhoomi’s fiancé, Neeraj (Sidhant Gupta), loves her because… they sing two songs together. Instead of seeing and sensing a couple in love, we see a pretty pair going through choreographed motions. What could have been a powerful scene between them – her revelation to him that she’s been raped, just before the wedding – occurs off-screen. He walks out with a sad-emoticon face, and his parents whisk him away. Is he confused? Is he a wimp? Does he try to call her later? Who knows? There are no such questions with the other characters (a female lawyer, cops), who are coloured with a single shade: “insensitive.”
For a painfully long time, we are treated to Arun’s despair, Bhoomi’s despair, the despair of the people in the surrounding seats wondering why such a sturdy premise is working neither psychologically nor physically. We get a short scene where Bhoomi realises it’s no longer going to be easy to practise her profession (bridal makeup). It’s so short, it’s just the tail end of a phone call. A better writer would have gone into her mind, what it means to be cast aside – by her fiancé, by society. And if you aren’t going to do that, at least deliver the pulp kicks of a revenge thriller quickly. By the time Arun and Bhoomi decide to go after the villains, Sridevi and Raveena Tandon were already ratcheting up the corpse count.
Why were we at least remotely invested in those films? Is it because women vigilantes fascinate us more? Or is it because, despite the lurid goings-on, the directors exhibited a smidgen of decency? Consider the staging of the rape in Bhoomi, in an empty cinema hall, as a sex scene plays on screen. Bhoomi is so insipidly written that the really interesting beats – how Bhoomi is punished for her honesty; how an innocent-looking man can turn dangerous when his love is spurned; how women don’t always rally around their men – cease to matter. Even the killings are terrible. One involves cross-dressing and a birthday cake. Another involves flying dupattas. A third involves a Sunny Leone item number. No wait. That’s just the integrity of a female-centric narrative being murdered.
Copyright ©2017 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Akhilan
September 25, 2017
Why oh Why Aditi…?!?! 😠
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KM
September 25, 2017
Was disappointed with Mom, what a waste of talent, Nawazuddin Siddiqui and Akshaye Khanna. Do we need to let the yesteryear star be the showcase?
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Pavan
September 25, 2017
Do you think that Omung Kumar’s love for the visuals, backdrop and mood comes from his previous stint as an art director? I doubt so.
Many say trivialising rape is bad. But, to be frank, the life of a rape victim is trivialised, not the rape itself. But in Bhoomi, things sort of escalate. Making rape is equated to a B-grade movie sex scene and that too in an empty cinema hall. Keeping aside the gravity of the situation apart, this thought gives me something to read. It feels like neither on screen nor off screen in the hall, the sex has real intent. And the hall being empty echoing of zero help to a rape victim. But, I don’t think the film was this self-aware. Going by the word of mouth, no matter how disturbing it might sound, rape-and-revenge drama is turning about to be the genre as exploited as the horror-comedies down south.
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Aman
September 26, 2017
Why do you still have to watch terrible hindi films? I thought that was the whole FC deal, anyway we are not complaining. Sometimes worst films bring out the best in you. Aditi like many others deserve better films, I hope Padmavati has good role for her.
P.S: You are not reviewing Soubin Shahir’s directorial debut Parava? Film is making good noises at the BO and getting acclaim.
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olemisstarana
September 26, 2017
Got free tickets. Went to see. Regretted it. Walked out before interval. This is rape porn in the vein of poverty porn. I haven’t seen Mom, Kaabil or Maatr but I find this sudden capitalization on rape as a dramatic device very troubling. Unadvisable in the hands of even the best of directors, and none of these yahoos are Jonathan Kaplan. Also this better be the nadir of Aditi Rao Hydari’s acting because if not… I don’t know, I guess I won’t follow her on Instagram any more. That’ll teach her.
I wrote this comment a moment before I read Delhi High Court verdict acquitting Mahmood Farooqui of rape.
“Instances of woman behavior are not unknown that a feeble ‘no’ may mean a ‘yes’. If the parties are strangers, the same theory may not be applied…But same would not be the situation when parties are known to each other, are persons of letters and are intellectually/academically proficient, and if, in the past, there have been physical contacts. In such cases, it would be really difficult to decipher whether little or no resistance and a feeble ‘no’, was actually a denial of consent.”
~Justice Ashutosh Kumar
Excuse me while I go vomit in the corner.
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MANK
September 26, 2017
Aman, the FC deal was that he will not review terrible tamil films. (Its another matter that he seems to reviewing everything) Hindi films is something he does it only for this blog. but why are you complaining. this review is so much fun
Its too bad Aditi Rao Hydari cant seem to catch a break. i think she is one of the most beautiful (and beautiful looking) actresses in the country today and in many ways she deserved to be padmavati and not a supporting actor in the film. she has the more regal old world quality that a character like that deserves as opposed to Deepika who looks much too modern. But well that’s how things are, i only hope she doesn’t get a raw deal , what with Ranveer , Shahid and Deepika jockeying for screen space, her scenes are the ones most likely to be left on the editing table
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sanjana
September 26, 2017
BR must have watched the film with a sense of humour. Otherwise one cant sit through the whole experience. Aditi is not getting a lot of offers. So she must have felt happy that she got a title role with no less than Sanjay Dutt.
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