1 Star (out of 4)

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Producer Sejal Shah makes an uneasy transition to the director’s chair with her feature debut Costao. Nawazuddin Siddiqui plays a principled customs officer in a biographical drama that takes a lot for granted.

Set in the 1990s in Goa, the story follows Costao Fernandes (Siddiqui). He takes his responsibilities as a customs agent seriously, risking his own well-being to investigate tips on illegal smuggling operations.

Goa’s most notorious smuggler is a businessman and aspiring politician named D’Mello (Kishore Kumar G). Costao’s informer (played by Ravi Shankar Jaiswal) lets the officer know that D’Mello is planning to bring in a massive amount of gold without paying duties on it.

A last-minute tip finds Costao staking out the smuggling operation alone and unarmed, with no hope for backup in the pre-cell-phone era. He chases D’Mello’s younger brother Peter (Hussain Dalal) and stops him near a small village. Peter pulls a knife and stabs Costao several times before the agent accidentally kills Peter in self-defense. Bleeding, Costao shows the villagers the gold in Peter’s car trunk and tells them to call the customs office. He runs before the cops arrive, since they’re all on D’Mello’s payroll.

When Costao finally turns himself in days later — after the regional head of customs offers him protection — he’s in big trouble. The gold was gone before customs agents arrived at the scene, and D’Mello has made sure that none of the villagers will testify to having seen it. All Costao has is his word as to what happened, but he fled a crime scene. Soon enough, he’s on trial for murder.

The case on which this fictional story is based set an important legal precedent for the protection of civil servants against retaliatory prosecution. It has all the makings of a gripping courtroom thriller. Yet Shah and screenwriters Bhavesh Mandalia and Meghna Srivastava treat the trial portions of the story as an afterthought rather than the point of the film.

Instead, they focus on Costao’s personal life, painting an unflattering portrait in the process. In an effort to depict him as a man who puts his principles first, they portray him as a terrible husband and absent father. He frequently fights with his wife Maria (Priya Bapat), ignoring her pleas to think about the danger he’s put her and their three children in and the upheaval he’s caused by forcing them to move into secure housing.

As Costao’s murder trial proceeds, he’s prohibited from fieldwork and assigned to desk duty. He quickly gets bored and negotiates a transfer to Mumbai, leaving his family behind. Even when he’s eventually cleared of charges, he doesn’t return to them.

Whether or not this is accurate to the man who inspired this story, one could understand some reputation laundering by the filmmaker in this kind of movie. Yet it doesn’t seem like Shah realizes how unflattering his portrayal of Costao is. Rather, the story justifies Costao’s neglect of his family by having the officer’s daughter serve as narrator, closing the film with her praising his heroism without mentioning the price she paid for it.

If Costao is a movie about a man torn between love and duty, we need to see that. If this is about a man whose freedom is threatened by state-sanctioned corruption, we need to see that, too. What we get is a film that expects the audience to side with the civil servant because of his job title, regardless of how much of a jerk he’s portrayed to be. It’s a real disappointment.

Links

• Costao at Wikipedia
• Costao at IMDb
• GQ India article about the real Costao Fernandes