Badlapur: An eye for eye has us asking 'why'?
Authenticity.
It's the one thing cinema-goers crave – detailed and sympathetic portrayals that don't veer towards the simplistic. We hope our daily experiences are reflected in the films we watch without ever resorting to escapism or parody, all the while praying that if nothing else our filmmakers won't question our intelligence.
This turn to realism, perhaps, even hyperrealism, has made inroads into Bollywood in recent years. Be it Bombay Talkies, Lunch Box, or Ugly, cinematic authenticity is up for grabs and quickly being sought after by young filmmakers, and, ever so surprisingly, by young actors too!
Badlapur is an excellent addition to this growing kitty of films. Dark but not quite dastardly, twisted but certainly not traumatizing, this revenge saga grips you for a full two-hour ride and not just with an “Ab kya hoga?”, but instead with an “Aisa kyun?”.
The beginning is indeed not to be missed, not because it gives away the plot or leads to any profound appreciation of Badlapur, but rather because it is steeped in the very authenticity I mentioned above.
From the thalaywala selling his wares to the haphazard parking on Main Street (M.G. Road) one believes—right from the outset—that this is indeed real. A visual we encounter everyday, a scene etched in our minds.
With this explosive start, it is hard to think Badlapur would disappoint, and it does not, but it does leave a feeling that something is amiss.
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A story of love, revenge, and anger, Badlapur begins with a bank robbery gone horribly wrong. Misha (Yami Gautam) and Robin are making their way back home before Daddy, Raghav aka Raghu (Varun Dhawan), gets home. Alas fate, or, should I say, kismet, have something far sinister in store. Their CRV taken over by hoodlums, Laik (Nawazuddin Siddique) and Harman (Vinay Pathak), leads to a one of the best chase sequences this side of Hollywood(!), and a bitter and painful farewell to Raghu’s picture-perfect family.
This is a beautifully shot sequence but explosive beginnings require an equally, if not more, dhamakadaar mid-section and conclusion. And this is where Badlapur falters.
After having given us thirty minutes of intense action, solid movement, we come to point where the narrative just refuses to pick up. No sooner has the dust settled around Misha and Robin’s death that Raghu is out for blood. Liak is arrested and sentenced to twenty years for the murders, which incidentally also puts our plot on pause.
Seeing Liak escaping his confinement twice becomes repetitive, but I suppose that is exactly the point, as jail is no walk in the park.
With twists and turns abound leading to Jhimli (Huma Qureshi), Joshi (Ashwini Kalsekar), and Liak’s Ammi-ji (Pratima Kazmi), the plot finally picks up fifteen years later with Shobha (Divya Dutta) entering Raghu’s life as a NGO worker trying to secure Liak’s release on humane grounds. This final twist is compounded with Kanchan (Radhika Apte) and Harman as sitting ducks for Raghu’s inteqam ki aag.
Without resorting to spoilers, the film reaches its logical anjaam a decade-and-a-half after the original events, but it leaves one with an unsettling feeling. Perhaps, more importantly, it makes one wonder… what did revenge achieve? In the end, what did Raghu get? Laik got his freedom (take it whichever way you may), Jhimli got her keeper, Inspector saab is enjoying his retirement, but what of Raghu…?
As Jhilmi leaves Raghu with the same question the audience can’t help but ask, Sriram Raghavan pans out of Badlapur, and maybe, just maybe, Raghu’s badlay ki aag as well.
As far as stories go, Badlapur is neither new nor innovative, but it is a strong film because of the focused direction. When the storyteller at the helm of a project knows what he wants to leave the audience with, the storytelling becomes that much more compelling. This is a fact evident in Raghavan’s earlier work too. A simple comparison between Johnnay Gaddar and Agent Vinod would suffice, although the less said about this comparison, the better.
Similarly, the actors are well cast, especially the local Marathi talent, such as Apte, Kalsekar, and Mishra, truly ushering in the Pune vibe. Nawazuddin Siddiqui as Liak is an absolute pleasure to watch. His character’s growth is not only visible but can also be felt. Take, for instance, his maturity at turning himself in for a crime he knows he cannot escape from. Suffering from cancer, unable to locate his share of the loot, loveless, lonely, and at death’s doorstep, Siddiqui captures Liak’s tumultuous emotions perfectly.
In the same vein, Varun Dhawan’s Raghu is one sick and revenge-obsessed bastard (pardon the French!). Just like Liak’s transition from a remorseless, thieving, and good for nothing lout to a man coming to terms with his actions, and their consequences, we see Raghav go from a happy father and husband to a hammer-toting, women-abusing, gunda in a suit. Talk about transformations!
The cinematography, I believe, is what really brings Badlapur together. Right from the opening sequence through to the end, the photography never gets tiring! A special mention to the Rajdhani at Badlapur station, I have yet to see a train in India look as good as it does in this film!
These technical advantages coupled with good acting and capable direction make Badlapur a must watch, yet, as I said earlier, the film leaves something amiss.
Rating: 4/5
Randip Bakshi is a graduate student, avid film buff, and occasional blogger. He can be found musing on popular culture @filmijourneys.