The fact that the star is a woman adds extra punch to the machoness of the title. A woman — even one as small of build as Rani Mukerji’s Shivani Shivaji Roy IPS — can do everything a man does. She can carry off slo-mo walks…
Spoilers ahead…
Mardaani 2, written and directed by Gopi Puthran, pushes all the right buttons. Like Simmba, it uses rape to build a larger-than-life, masala-flavoured narrative in order to make you root for the star’s mission, and yes, also to showcase a star — but the fact that the star is a woman adds extra punch to the machoness of the title. A woman — even one as small of build as Rani Mukerji’s Shivani Shivaji Roy IPS — can do everything a man does. She can carry off slo-mo walks. She can carry off action scenes, whether on the ground or under water. She can pull off vigilante justice, and on Diwali day — which is associated with (the male god) Rama’s vanquishing of Ravana, or (another male god) Krishna’s vanquishing of Narakasura.
From her first shot, Shivani establishes her no-nonsense authority. She walks into a crime scene and the non-stop camera movement (it’s a long tracking shot) tells us that she does not like wasting time. (Neither does the film, which runs a mere 105 minutes.) Shivani ticks off a (male) journalist and a (male) colleague — but when she sees the victim’s body, she sheds a tear. Flesh from the cheek has been bitten off. There’s vulvar rupture. Later, during the autopsy, the (female) doctor tells Shivani, with a clenched face, “Please just get that bastard.” Heck, I was practically yelling the same thing.
The bastard turns out to be a teenager named Sunny. He’s an interesting conflation of colourful masala-movie villainy and Hollywood’s chilling serial killer tropes — and Vishal Jethwa harnesses both styles superbly. The twist is that Sunny realises, very early on, that Shivani is after him. He breaks into her home and puts on her lipstick. He wears a sari during a killing. Shivani calls Sunny a “new-age criminal”, who wants fame more than money. The worst fate for him is being ignored. But the film doesn’t push this angle very convincingly. Sure, Sunny talks to the camera from time to time, as though recording his thoughts and deeds for posterity, but he seems more interested in playing a cat-and-mouse game with Shivani — and this is what gives Mardaani 2 its juice.
What the film lacks in freshness, it makes up for with technique — this is a superb exercise in craft. The tight screenplay (there’s a ticking-clock deadline factor, too) and atmospheric direction keep upping the tension, and the male/female dichotomies are expertly deployed. Almost all men are chauvinist pigs. (This is not a movie you go to for nuance.) Sunny talks about his “appetite” and how it is not easily satisfied. A news anchor who calls Shivani on his show only seeks sensationalism. Shivani’s male colleague cannot bear the thought of taking orders from a woman. (Shivani manipulates him well.) And even her superior — who looks like a classy man who should really know better — advises her that successful and capable women will fare better with a side of humility.
As a pure genre film, Mardaani 2 delivers. It helps that Rani Mukerji is a superb actor — she invests so much into every gesture. But what’s most fascinating is that it shows masala narratives needn’t have all the elements we associate with masala movies. Except in a short scene involving Shivani’s family (that too, over the phone), almost all “emotion” (or “sentiment”, if you want to call it that) is manufactured within the premise of the get-that-bastard narrative. In these films, usually, we get wolf-whistle “hero” moments. Here, we get a bunch of gentler “heroine” moments. Shivani gives her (female) deputy the evening off because it’s her first Diwali after marriage. On TV, Shivani talks about how every day is an agni pariksha for women. It’s true. You grow older. You are no longer in demand as a heroine. You have to try and get author-backed projects made for you (and even then, it helps if your husband is a producer). I walked out feeling the film is just as much about Rani as Shivani.
Copyright ©2019 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Apu
December 18, 2019
Isn’t this movie also about the mindset of the villain, that he uses rape as a “revenge” or “weapon” against women to show them their “place” and for women who has overstepped their “limit”? I read about it, and thought that that was not what I have usually seen in a movie, but well, I might not have watched too many movies.
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ravenus1
February 18, 2020
A couple nights ago me and mum watched Mardaani 2 on Amz Prime. It would not have been my first choice, but I felt that the 105 min running time at least suggested a crisp movie. Turned out to be mostly a waste of 105 min for me. Tahir Bhasin in the first film brilliantly exuded casual menace. Here, Vishal Jethwa as the bad guy acts like a younger version of an eye-rolling Ashutosh Rana. You have to swallow an enormous amount of contrivance for the easy manner in which he keeps baiting the supercop. There’s a groan-inducing pro-woman speech moment made for Rani in which she gives a massive emo-dump about all the problems that women face even getting an opportunity to prove themselves capable. It’s a noble thought, but the preachiness is off-putting. It would have been nice to give the cop more rounded dimension as a person but Jishu Sengupta as Rani’s husband is reduced to a single scene in another part of the country (and I suspect by Mardaani 3, he may be a garlanded photograph on the wall). All in all, Mardaani 2 is a mediocre potboiler that needed far better writing.
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Pallavi
March 2, 2020
“On TV, Shivani talks about how every day is an agni pariksha for women. It’s true. You grow older. You are no longer in demand as a heroine. You have to try and get author-backed projects made for you (and even then, it helps if your husband is a producer). I walked out feeling the film is just as much about Rani as Shivani.”
This is called back-handed compliment. Its so ironical that a review for a movie about sexism ends with display of some. “it helps if your husband is a producer” wah rangan ji wah
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brangan
March 2, 2020
Pallavi: I meant that as a sad statement on heroines of a certain age — not a back-handed compliment. Even with an actress as good as her, how many non-Yash Raj producers are lining up to give her a leading role?
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Joe Sanchez
November 26, 2023
You should ask her!! Only in India older actresses (40+?) expire for lead roles. Btw she did a non-Yash film this year MCVN.
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