Kahaani Review

Directed by	Sujoy Ghosh
Produced by	Sujoy Ghosh Kushal Gada
Screenplay by	Sujoy Ghosh Suresh Nair Nikhil Vyas
Story by	Sujoy Ghosh Advaita Kala
Starring	Vidya Balan Parambrata Chatterjee Saswata Chatterjee
Music by	Vishal-Shekhar
Cinematography	Setu
Editing by	Namrata Rao
Distributed by	Pen India Pvt. Ltd Viacom 18 Motion Pictures Boundscript Motion Pictures Pvt. Ltd

Kahaani rightly lives up to its name and reinstates the fact that the core criterion for a decent film is a strong story. And if that story is in competent hands, you don't need anything else. No big stars, songs, budget or even a customary male lead. For a (pleasant) change, the script is indeed the hero here!

What a fright. Her eyes dive into the Kolkata night.

And the city stares right back with its chrome yellow colours; the Howrah Bridge is glimpsed through a local train;the Victoria Memorial whizzes by; sleaze is on 24 x7 at the unsmiling Mona Lisa Lodge. Indeed, the pregnant woman’s mind is a hodge podge.

Throughout you watch Kolkata, quite bedazzled, in director co-writer-director Sujoy Ghosh’s  Kahaani. A work of outstanding vignettes, consistently brisk tempo and technical virtuousity, it’s the best two hours you’ve spent at the movies in years.

Designed as a suspense-laced thriller, the result’s engrossing because of Ghosh’s  accomplished direction, excellent cinematography by Setu, and needless to add, yet another excellent performance by Ms Balan whose calling card has become subtlety and a psychological acuity in understanding the characters she enacts.

To be sure The Dirty Picture is a tough act to follow but she has done it – she brings you close as much to the dilemma of the mother-to-be Vidya Bagchi as she did to the self-destructive Smita.Terrific!

What could have been an unconditional five-star experience, however, falls short because of the script which is far too schematic and clever for its own good by half. The plot has more holes than a tea-strainer, often events are as implausible as a landing on Venus and Mars, and the wrap-up involves a blah-blah explanation – the sort you still tolerate in crime TV serials.

Also, some behavior seems to be distinctly odd: the heroine doesn’t express the slightest sense of shock or dismay when a whole caboodle of innocent people are done in because of her.

Mr Ghosh could have rectified that with a single sentence of scene. Snag is that there are far too many writers involved – four or is it five? – in a script which often weeps for clarity.

While the initial pacing is moderate, the proceedings pick up rapidly in the latter reels as the story gains multiple dimensions. The brisk storytelling calls for your absolute attention but the narrative has been so gripping since start that you never lose a moment. And like any good story should boast of, the actual brilliance of Kahaani comes in its climax that shall leave you spellbound. Amidst a horde of predictable plots and conventional culminations, Kahaani has one of the most impressive climaxes for a Bollywood film in recent times.

                                                   Despite laughable flaws in the writing, the outcome invites the forgiveness factor from the viewer. You’re willing to ignore its lapses because it is made with heart and even while telling something of a garbled plot, works in a strong sub-text. Also, here’s a rare film that it not at all afraid to walk alone with a female protagonist, without patronizing her.

In fact, Vidya Bagchi’s courage is taken as a given. This is what a pregnant woman – a professional person – would do if her husband suddenly vanished from the face of the earth. Over to a marvelously photographed sequence showing touts and chaos at an Indian airport. Vidya Bagchi has arrived from London (why London?, not clear) and sets about investigating about the mysterious disappearance of her Mr Bagchi. Had he been summoned by the National Data Centre for a job? Had he stayed at the Mona Lisa? Etcetera’s abound, as the woman goes about sleuthing accompanied by a young police officer (Parambrata Chattopadhyay, sweeter than mishti doi), and obstructed by weirdo’s as well as clout-wielding intelligence offers.

Intermittently, the woman’s brief moments with children are absolutely disarming. Not surprisingly, the film works best when it doesn’t use dialogue.

Obviously, Ghosh adores Kolkata, and knows its back-alleys and upscale addresses so well that the locations are authentic throughout. In addition the faces of the tea vendors, gossiping housewives and the ancient old man manning the lodge’s reception counter are so real that they stay with you. The atmosphere of the Durga pujo week is also caught robustly.Although the goings-on are tense, moments of humor are incorporated, like Vidya objecting to being called ‘Bidya’ by the Kolkatans but then giving up. Plus, there’s something really cheeky when the heroine plays a bit of tosey-tosey on a bus ride with the police officer. A human touch that, actually showing a pregnant woman flirting!

Amidst the few improbable or avoidable aspects in the otherwise authentic film is a young cop's over-willingness to go out of his way to unofficially escort and aid Vidya throughout her pursuit. Also his faint romantic inclination towards Vidya seems out of place. Thankfully the director refrains from stretching it into any dream song zone. In fact Sujoy Ghosh shows utmost sincerity in keeping the narrative clutter-free, sans any songs or side-tracks.

         

The story is of one pregnant Vidya Bagchi (Vidya Balan) who comes to Kolkata from London in search of her husband who was in India on an assignment but suddenly went missing. There is little that the cops can do since they are unable to trace any records of her husband in the guest house, office or even airport immigration. Things take a drastic turn when Vidya learns that her husband had a lookalike and perhaps that could get him closer to her search. But soon her personal quest turns into a political conspiracy.

Though Kahaani gets to the point from the very start, the actual graph in the narrative ascends when Vidya's individual search for her husband takes a bureaucratic twist, with the intelligence department coming into picture. The local affair suddenly turns into a governmental concern.

Incidentally what seems to be a human drama at first glance is smartly moulded into a suspense-thriller. But at the same time there is much sensitivity in the direction to not leave it as a mere mechanical mystery tale but lend requisite heart. A dose of dark humour is wittily integrated through the track of a clerk-cum-contract killer who maintains a constant smirk while terminating his targets.

Technically a little jewel, this,Namrata Rao dexterously edits the film, never letting the viewer stray for a second. Cinematographer Setu captures the vibrant shades of the busy city of Kolkata with panache. The dialogues are crisp and effective.

Kahaani essentially banks upon the prowess of Vidya Balan, one of the most blessed actresses of the times, who impresses more with every new film. She brings depth and poise to her character and adds conviction in every scene. Parambrata Chattopadhyayis charming as Vidya's cop-companion and makes for a good supporting character.

Nawazuddin Siddiqui as the crude intelligence officer exudes solid screen presence and confidence.

Indraneil Sengupta does well in his cameo. Several other character artists lend adequate support.

Kahaani, undoubtedly, is Sujoy Ghosh's most accomplished works till date as he emerges as a skillful storyteller with the film .

Vishal-Shekhar’s music score are remarkably inspired.

If story is what you seek from a film, Go for it. Kahaani is a must-watch. Aami Shotti Bolchi!