Gripping whodunit

Gripping whodunit
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Highlights

After making it to newspaper headlines and screaming talk shows, the Aarushi murder case makes it yet again to news — this time at the theatres. Fortunately this time around the script is by the greatly talented Vishal Bharadwaj and is directed with great poise by Meghana Gulzar, who at the right time seems to have taken over the genetic reins.

Still from 'Talvar'

After making it to newspaper headlines and screaming talk shows, the Aarushi murder case makes it yet again to news — this time at the theatres. Fortunately this time around the script is by the greatly talented Vishal Bharadwaj and is directed with great poise by Meghana Gulzar, who at the right time seems to have taken over the genetic reins.

The story is all too well known to warrant any repeat. It is the narration that requires to be mentioned, viewed and experienced. It is not often that a Hindi filmmaker takes you through a whodunit with such command and keeps you engaged in the twists and turns. The added disadvantage that the filmmaker starts off with is that the story has been told in such minute detail before the first scene was shot.

Meghana after the initial promise in ‘Filhaal’ and the major hiccups with ‘Just Married’ decides to deal with a nail-biting narration on the Aarushi murder case and its investigation. She does it with such taut style that the narrative never wanders into the irrelevant. Yes you do get the feel that the Tabu trail is added in labour.

She tells the various versions of what could have happened that disastrous night. She tells even more. She speaks of police insensitivities, media overdrive, middle-class complacence and moralistic stances. Above all she gives you a picture of a tragedy that a couple faces in the many layers they get embroiled.

One version deals with how the police investigating the murder, including inspector Dhaniram Chaurasiya (Gajraj Rao), have their theory in place and then backward engineer the investigation.

They decide that this is honour killing as the dad Ramesh Tandon (Neeraj Kabhi) reacts violently when he sees his domestic help Khempal in a compromising position with his adolescent daughter Shruti (Ayesha Praveen). This tale depicts how pathetic our system works and how insensitive our investigating agencies are.

The manner in which the guy with his fads, including the ringtone of his cell phone, unmindful of the place it rings is a very realistic depiction of the times we live-in and more particularly the insensitivity of the local police and yet how they have a vice like grip over the citizen. Meghana could not have got nearer to the truth.

The second version is that investigated by the hesitant investigator Ashwin (Irrfan Khan) and his deputy Vedant Mishra (Sohum Sharma). This version deals with the other plausible version of the investigation: fingers pointing at Khanaiya (Sumit Gulati) a paramedical at the clinic and his friend Rajpal (who nurtures love for the victim). Was it simply a case of alcohol getting the better of a young life?

The third version returns to the first with the retirement of Ramakant (Prakash Belwari) the bureau chief and how the internal intrigues of the powers that be change the course of investigation. Paul (Atul Kumar) comes to investigate the trail in the manner his boss wants him to. Interestingly, midway we have Vedant Mishra willing to change his loyalties and reasoning at the threshold of a promotion and career advancement.

There is then that wonderful finale where the conflicting teams put up their story and the impatient judge orders the charge sheet to be filed. Do not miss the last half hour of the film. It is arguably one of the best we have seen in a while told with intelligence and honesty.

Also watch the film for some wonderful performances from the predictably great Irrfan Khan to the lesser known like Sohum Sharma, Prakash Belwadi, Gajraj Rao and Sumit Gulati. Above all the film is the triumph of a script and a crew that is committed to it. Kudos to Vishal and Meghna Gulzar!

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