Tag Archives: Isha Talwar

Movie Review: Article 15 (2019)

3.5 Stars (out of 4)

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A big city bureaucrat appointed to oversee a small town police department gets tangled in a web of politics, caste, and greed in the dynamite thriller Article 15.

Ayan (Ayushmann Khurrana) is the ideal audience avatar. He rolls into the town of Laalgaon, telling his girlfriend Aditi (Isha Talwar) over the phone that the place looks like something out of an ’80s movie. He notes the freshness of the country air. It’s a world apart from the large cities — domestic and international — that Ayan is used to.

Besides the predictable culture shock, there’s something strange about the town. Despite what Ayan said about the fresh air, there’s a pall over the town that bathes it and its inhabitants in sickly yellow or gray tones (per cinematographer Ewan Mulligan). Ayan meets a former classmate, Satyendra (Aakash Dabhade), who is evasive and twitchy instead of the cheerful friend Ayan remembers. The rest of the cops — led by Ayan’s second-in-command, Bhramadatt (Manoj Pahwa) — are eager to close the case of two Dalit (lower caste) girls who were reported missing days earlier and found murdered. Only Ayan seems interested in the whereabouts of a third girl reported missing with them.

At first, Ayan is too smug to see what’s really going on, buoyed his sense of worldliness and the power accorded his position. He accepts Bhramadatt’s assessment of the murders as “honor killings” committed by the girls’ fathers, and he’s dismissive of Gaura (Sayani Gupta), the sister of the third missing girl. Only when he discovers that Bhramadatt is stalling him on the results of the postmortem and when his own men are attacked by Dalit activists does Ayan realize that he’s missing crucial pieces of the puzzle.

Laalgaon is governed by a rigid, complicated interpretation of the caste system. There are layers within layers, so that everyone ranks slightly above or below someone else. It reinforces social systems governing occupations, food handling, even whose shadow is allowed to fall on whom.

Money perpetuates the caste system in town, even though using it to discriminate against certain groups is officially prohibited by Article 15 of the Indian Constitution. By marginalizing the lowest castes, the people at the top ensure a steady supply of what is essentially slave labor. American audiences will notice similarities to how the white power structure here replaced lost laborers following the abolition of slavery, as explained in Ava DuVernay’s documentary 13th. The activist group in the Article 15 is in part a sort of militant labor union, and when they strike, the film shows in disgusting detail how dependent the town is on the workers who do the “dirty” jobs no one else wants.

Some people in Laalgaon have transcended certain aspects of their caste, such as Jatav (Kumud Mishra), who became a police officer with Bhramadatt’s help, even though his father was a school janitor. The status elevation turned Jatav into one of the most vocal critics of those below him, and his fear of falling back down the ladder keeps him subservient to those above. His eventual realization that turning his back on his people only made things worse is hard-earned and painful.

The scene that best captures the all-encompassing nature of Laalgaon’s power dynamics involves Bhramadatt and Jatav. As both men sob, Bhramadatt shakes Jatav, accusing him of ingratitude and endangering their very lives by aiding Ayan’s investigation. (More than one character states that the worst that will happen to Ayan is he’ll be transferred, while the locals who help him will be killed.) Though Bhramdatt ranks higher socially than Jatav, both serve the rich and politically connected at the top. Seeing these gray-haired men so terrified drives home how precarious their lives have always been in a place governed by something other than the rule of law.

Pahwa and Mishra are the standouts in a film full of amazing performances. Gupta is resolute in the face of a system designed not to help people like her. Same for Ronjini Chakraborty as the junior Medical Examiner who knows the truth of what happened to the murdered girls. Mohammed Zeeshan Ayyub’s portrayal of the Dalit revolutionary leader is terrific.

Aditi tells Ayan at one point that she doesn’t want him to be a hero, she wants him to be the man who doesn’t wait for the hero to arrive. That sentiment governs the way Khurrana plays Ayan. There’s a problem to solve, and Ayan does it without a lot of flash, using the skills he has at his disposal. Khurrana’s understated performance suits the movie perfectly.

Article 15 has a few moments that feel a little preachy, but they’re born of director Anubhav Sinha’s and writer Gaurav Solanki’s passion for the film’s message of justice. Their movie is thoughtful and relevant, with jaw-dropping surprises. Article 15 is a must-see.

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Movie Review: Tubelight (2017)

2.5 Stars (out of 4)

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Much of the critical consensus around Little Boy — the 2015 American movie upon which Tubelight is based — condemns the movie as an offensive form of religious chauvinism. Armed with that foreknowledge, I expected Tubelight to be a disaster. Thankfully, it is not. Though flawed, it’s an enjoyable and touching examination of the lives of loved ones left behind during times of war.

Tubelight resets Little Boy‘s story from World-War-II-era California to the small mountain town of Jagatpur in far northern India during the Sino-Indian War of 1962. Americans can be forgiven for not remembering this conflict, as it happened at the same time as the Cuban Missile Crisis.

Tubelight also recasts the titular “little boy” from the original film with 51-year-old Salman Khan. Khan plays Laxman, a mentally handicapped adult whose nickname “Tubelight” refers to the long time it takes for him to catch on to concepts. His younger brother Bharat (Sohail Khan, Salman’s actual younger brother) is his bodyguard and cheerleader, encouraging Laxman to believe in himself, even if no one else does. The pair feature in a song number about brotherly love made awkward by the siblings’ stiff dance moves.

The most uncomfortable aspect of Tubelight is the degree to which the town condones the bullying of Laxman. Young and old alike feel free to laugh at Laxman for even minor gaffes, and everyone seems okay with this. It’s sad.

Besides Bharat, Laxman’s only defenders are kindly Maya (Isha Talwar) and scholarly Banne (Om Puri). It falls on them to look after Laxman when border tensions between India and China inspire Bharat to enlist. As the conflict escalates, Laxman struggles with his loneliness and inability to bring Bharat home.

In order to keep Laxman busy, Banne encourages him to practice living by Gandhi’s principles, such as conquering fear and loving one’s enemies. Laxman thinks doing so will increase the strength of his belief, thereby empowering him to will his brother’s return. He puts Gandhi’s values into action when a widowed mother named Liling (Zhu Zhu) and her young son Guo (Matin Rey Tangu) move into a house on the outskirts of town. Though Indian by birth, their Chinese ethnicity marks them as outcasts. Laxman overcomes his own trepidation to befriend the little boy, earning him the ire of many townsfolk.

The indulgence by Banne and other villagers of Laxman’s fantasy that he can change things if he just believes hard enough feels wrong. Laxman isn’t a child who will one day come to understand that people were humoring him. He simply isn’t capable. Liling is the only person who reasons with Laxman honestly, trying to explain things in terms he can grasp. She stresses that bad things don’t happen because of a lack of faith, and that self-belief is important for its own merits, not because it can work miracles.

Moments like the conversation between Liling and Laxman give Tubelight authenticity. While Laxman may be particularly ill-equipped to handle something as horrible as war, everyone feels helpless when their loved ones are in danger. For all his intellectual shortcomings, Laxman is quicker to appreciate the distinction between individuals and governments than the rest of Jagatpur. He sees Guo and Liling for who they are, not as representatives of some hostile foreign power.

Such surface-level hatred is personified by the town bully, Narayan (Mohammed Zeeshan Ayyub). He’s an effective villain because his racism and xenophobia are reflexive and just understated enough that people are willing to follow him. He hears that a Chinese family has moved to town, and his instinct is to attack them. The speed with which he reacts makes it seem as though it is the natural way to react. It’s chilling.

Little Matin Rey Tangu is charming as Salman’s sidekick. They share a funny scene in which Laxman confesses his lies, only to run away before he can face the consequences. Zhu Zhu gives a solid performance, and watching her dance is a treat. Om Puri and Sohail Khan are great in a scene in which they discuss how Laxman will cope without Bharat.

Salman is overall pretty good, but he’s at his best during moments of heightened emotions, such as when Laxman is afraid for his brother or when he’s protecting Guo. His earnestness drives home the importance of rejecting racism and xenophobia as a way to free ourselves from fear and spread peace.

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