The adventures of Huckelberry Fin is one of the most read books in literature. Mark Twain’s creation of both Tam Sawyer and Huckelberry Fin is still remembered fondly for how he showed the evolution of two young lads and their friendship. In the Adventures of Huckelberry Fin there is a peripheral character of an enslaved black man called Jim. Just like Huckelberry Fin he is also someone who is on run albeit for a different reason. Jim overhears that he is about to be sold to a man in New Orleans and as a result get separated from his wife and daughter forever.
In this action-packed reimaging Percival Everett has put Jim at the center and has done a wonderful job in fleshing out what is originally a supporting character. The novel James is not an easy read, terrible things happen to noble people just because of them having a certain skin. There are characters who degrade and take advantage of Jim.
Writer Percival Everett brings out the inhumanness of slavery in a heart touching way. The novel has also got good doses of suspense, this aspect also makes it a very engrossing read. To put it simply James by Percival Everett is a must read particularly for those who like action packed stories with some social consciousness.
An overview into how Hindi Cinema used to make good political films that had coherence and didn’t pander to the ruling party
The state of the recent political movies in Bollywood cuts a very sorry figure. Movies like the Accidental Prime Minister and PM Narendra Modi are woeful products in more ways than one. Yes they are incoherently staged both in terms of acting and storytelling, but apart from these aspects the movies have been used as tools for negative political propaganda. In the case of The Accidental Prime Minister it was clearly made to malign the former Prime Minister of India Manmohan Singh along with the entire Congress party. PM Narendra Modi on the other hand was meant to absolve Modi from all crimes and put him on a pedestal.
On the other hand both Kashmir Files and the Kerala Story are hugely islamophobic in nature. There is no denying the sufferings of the Kashmiri pundits but director Vivek Agnihotri presented a rather one sided pictures with all the Hindus being sufferers and Muslims being monsters. The Kerala Story on the other hand hugely exaggerated story of Hindu women being radicalized by the ISIS. Much like Kashmir Files here too you won’t find any positive Muslim character. This hate against Muslims represents the attitude of the BJP government. The success of both these movies is a byproduct of the times we live in.
Then there are the likes of Uri: The Surgical Strike, Tejas and this year’s Fighter. Uri: The Surgical strike was a highly dramatized account of Indian army retaliating to the URI Attacks. The movie was clearly meant to establish that the surgical strike had taken place in real. Not surprisingly the BJP party used the movie as a tool of propaganda particularly the dialogue “How’s the josh”. Hrithik Roshan’s Fighter was on the other hand was inspired by the Balakot strike. The climax of Fighter is straight out of a single screen universe with patriotic dialogues and ample dose of jingoism.
This year the team of The Kerala Story returned with Bastar: The Naxal Story which made a mockery of the Naxal movement, it didn’t find audiences even with those who like propaganda movies. Article 370 on the other hand directed by Aditya Suhas Jambhale did fairly well primarily due to the performances of the two leading ladies Yami Gautam and Priya Mani. However the characterizations of the Kashmiri locals which include the politicians was highly laughable. The director made it look like only Prime Minister Modi and BJP are concerned about the welfare of Kashmiri population.
Not surprisingly Narendra Modi mentioned about the movie urging the viewers to watch it a few before the movie’s release. Even you look at Kashmir Files the party workers played a significant role in promoting the movie. But it has to be said that political movies in Bollywood has not always been like this and following is an overview into some of the well crafted political ones.
Rang De Basanti directed by Rakesh Om Prakash Mehra was about the corruption in the defense department that leads to the death of a pilot played by R Madhavan. The movie did not shy away from showing the deep rooted corruption and the cynical attitude of the youth who believe that no good change can come.
What also added to the impact of Rang De Basanti was the way it intertwined the sacrifices made by our revolutionaries Bhagat Singh and Chandrasekhar Azad among others and today’s youth who think thoughts of revolution and sacrificing for the country is an outdated thought. The gradual change in the protagonists played by Aamir Khan, Siddarth, Kunal Kapoor, Sharman Joshi etc was wonderfully written and directed.
Prakash Jha is someone who is well known for directing movies that have an undercurrent of socio political aspects. For example his 2010 film Rajneeti was modeled on the epic Mahabharata while looking at the dark underbelly of the political scenario in our country. Through the huge ensemble of actors Director Prakash Jha cooked a gripping cocktail of complex relationships, an uncontrollable lust for power and rivalry of the siblings among other things.
A major highlight of Rajneeti was the strong characterizations of all the actors. For example Ranbir Kapoor’s character Samar starts off as a young man leading a quiet life in the US. But getting sucked into the family politics brings out the monster in him. There is a hugely poignant scene towards the end where Samar decides that he has had enough and politics is not for him. Apart from the strong characterizations Rajneeti also had some powerful scenes showcasing the political circus that takes place when candidates meet ordinary people.
Aarakshan on the other hand directed by the same man took up with the burning topic of reservation, special benefits being given to people belonging to a particular caste. There are some powerful scenes in Aarakshan particularly the first half which depicts the class and caste conflict. Case in point being Pratik Babbar and Saif Ali Khan’s characters expressing their contrasting views about reservation, Pratik’s Sushant is a typical rich brat who thinks that Dalits should not be given any special privileges and are afraid of working hard.
Tamil Director S. Shankar is well known for making movies featuring vigilante protagonists. Through his protagonists the director has covered issues that are important to the common man. S. Shankar’s Nayak: The Real hero is the remake of his own Tamil movie Mudhalvan. Unlike the vigilante protagonists of his previous movies who have an inbuilt social consciousness Anil Kapoor’s Shivaji Rao Gaekwad is more of a reluctant hero who wants to lead to peaceful life. Shivaji starts off as a cameraman in a popular television channel; from there he eventually becomes a reporter. One day his life takes a dramatic turn while interviewing the chief Minister of Maharashtra, Shivaji questions the chief minister on certain things like choosing to not control a violent riot that causes a lot of damage. In a very filmy turn of events Shivaji ends up being the Chief Minister of Maharashtra for a day and does a lot of good, eventually he replaces Amrish Puri’s Balraj Chauhan.
Of course there is nothing subtle in the way Shankar goes about depicting the issues plaguing the society. Every point feels hammered in but at the same time there is no denying the relevancy of what Shankar addresses. There are scenes in the movie that mirror the real life corruption that we read about everyday from grassroot to national level. Through the character of Amrish Puri director Shankar also explored the harmful affects of vote bank politics and appeasing a certain community to just win the elections.
Nayak: The Hero is a movie that has aged well. Sure it was not a hit movie at the time of its release but over the years it has made a certain place in the viewer’s hearts.
Anurag Kashyap’s Gulaal is also a noteworthy political movie. The plot of Gulaal is set in Rajasthan focusing on the community of the former royalty who want to restore both the Rajputana province and the kingship.
The central protagonist of this tale is Dilip Singh (Raj Singh Chaudhary), Dilip Singh starts off as an unconfident guy but soon gets involved in local politics after the death of his roommate cum friend Rananjay Singh (Abhimanyu Singh). Rananjay Singh was contesting in college elections, a local commander Dukey Bana (Kay Kay Menon) insists Dilip to contest in place of his slain roommate and he makes sure that Dilip does win on the behalf of the Rajputana party. Running side by side are multiple subplots.
Anurag Kashyap’s depiction of student politics and the violence is hard to stomach; nevertheless the movie makes a strong impact. Gulaal also works as a critique of some movements that talk about how a particular community or a region is superior to the rest.
Sometimes the movie also plays out like a Shakespearean tragedy combing elements of jealousy, greed and corruption. At other times you have the Quentin Tarantino touch in the staging of the scenes that show the lawlessness.
Here’s hoping that Bollywood gets back to making solid political movies. The current trend of propaganda political movies have reached a saturation point which is evident in the lackluster response of the recent ones.
Director Sharan Sharma disappoints after a promising debut in Gunjan Saxena. Janhvi Kapoor needs to get out of her stock expressions
Starcast: Rajkumar Rao, Janhvi Kapoor, Kumud Mishra, Zarina Wahab and others special appearance (Arjit Taneja)
Director and writer: Sharan Sharma
Additional writer: Nikhil Mehrotra
Production Company: Dharma Productions and Zee Studios
Music directors: Vishal Mishra, Tanishk Bagchi and others
Cinematography: Anay Goswami
Running time: 2 hours and 18 minutes
Sharan Sharma’s first movie Gunjan Saxena: The Kargil Girl was much appreciated for its strong storytelling particularly the father and daughter relationship. The movie also packed a powerful punch in showing how Gunjan broke through the mostly male stronghold to make a place for herself. For Janhvi Kapoor the movie was a resurgence after the mixed reviews to Dhadak.
Sharan Sharma’s second venture Mr and Mrs Mahi had all the potential to be a solid feel-good movie, but this time the director has disappointed the emotions land rarely and the cricketing portions are a dampener. It also doesn’t help that Janhvi seems to have stepped straight out of Baawal sets in a different universe. Sure, the character sketch leaves a lot to be desired, but Janhvi’s monotonous expressions doesn’t really help. She really needs to up her game significantly particularly in the times of talented young actresses like Nitanshi Goel and Pratibha Ranta from Laapaata Ladies. Or even Mrunal Thakur who has delivered some impactful performances.
Mr and Mrs. Mahi tells the story of a failed cricketer Mahendra Agarwal (Rajkummar Rao) and his doctor wife Mahima Agarwal (Janhvi Kapoor). Mahendra toils away in his father’s sport shop. Mahendra’s dream was to play for the national team however that didn’t transpire for many reasons. There is a constant undercurrent of tension, the father Hardayal Aggarwal (Kumud Mishra) considers Mahendra as a defective piece. The son on the other hand looks at himself as a complete zero. Adding to Mahendra’s woes is the elder brother Sikander Aggarwal (a caricaturist Arjit Taneja). Sikander is a big television actor whose face is seen on billboards; fans throng after him. This adds to Mahendra’s insecurity. Things take a turn when Mahendra comes upon his wife’s cricketing abilities. He manipulates Mahima into believing that she is made for cricket. Mahendra is successful in making Mahi a star, but their marriage takes a beating as Mahendra’s desire for fame has not been quenched.
One of the few redeeming features of Mr and Mrs Mahi is the top notch Rajkummar Rao. Yes, Mahendra is not a likeable person. On more than one occasion he comes across as very selfish and also insensitive but at the same time it is impossible to hate Mahendra completely thanks to the layered character and Rajkummar Rao’s portrayal. The way Rajkummar showcases the psyche of a broken man is a testament of his immense talent. The actor also raises some chuckles in the scenes where Mahendra records videos promoting himself on how Mahma has reached this far because of him.
The music composed by the various composers does make for a good listen and watch. A particular mention must be made of Vishal Mishra’s “Roya Jab Tu”. This song takes place when Mahendra and Mahi have a spilt and her game has taken a severe beating. Anay Goswami’s cinematography is suitably glossy and does make the movie visually appealing.
Director Sharan Sharma does make some important points on how the need for fame can drive a person insane and also the aftereffects of suppressing childhood dreams. However, these scenes are far and few in between.
A major problem with Mr and Mrs Mahi is the lack of depth in both the characterization and the acting performance of Janhvi. For most part the viewers see the film from the perspective of Mahendra and this leaves little room for Mahima. Often times she comes across as a pushover whether it is the father making her choose a doctor career or the husband manipulating her to become a cricketer. There is little agency here and by the time Mahima gives it back to Mahendra it becomes too late.
As mentioned in the beginning Janhvi needs to get out of her stock expressions. The emotions of fear and vulnerability are the same as we have already seen in the likes of Baawal and Mili. Sure, she has worked on the cricket aspect but other than that there is nothing new. Also, the cricketing aspect feels superficial given that Mahima is never seen fielding on the ground.
Mr and Mrs Mahi is strictly an average watch only elevated somewhat by Rajkummar Rao.
With the advent of OTT, the likes of Shefali Shah, Sushmita Sen, Manisha Koirala, and Sonakshi Sinha got their due.
The advent of OTT platforms has led to a significant change in more ways than one. One of the major changes has been to the narrative style.
Thanks to the longer runtime and long-form format, web shows have more scope for sustained storytelling.
Another major positive change is the space OTT has created for female actors to challenge themselves in mainstream and middle-of-the-road cinema.
With the longer runtime in web series, the actors have more time to build their characters and delve deeper into the nuances, which is often not possible in mainstream films with a limited run time.
They are also breaking the stereotypes of age and conventional roles.
Many female actors, despite talent, have been limited to supporting roles, with minimal scope of showing their acting prowess.
Of course, there have been phases where women-centric films have garnered both critical acclaim and commercial success. Some of these include The Dirty Picture (2011), Kahaani (2012), Queen (2014), Neerja (2016), Raazi (2018), etc.
However, the format of a web series offers more scope for the portrayal of powerful characters.
With the advent of OTT space, female actors got their due, especially in the case of Shefali Shah and Manisha Koirala, who have shone in Delhi Crime (2019 and 2022) and Heeramandi (2024) respectively.
Careers of Shefali Shah & Sushmita Sen revived
Shefali Shah in ‘Delhi Crime’. (X)
Among the firsts is the web series Delhi Crime(2019 and 2022), which revived the career of Shefali Shah.
She played the role of a DCP in the Delhi police. DCP Varthika helms the team which investigates the Nirbhaya case and also handles the public anger owing to the heinous crime.
She is a strong-willed officer who is also dealing with a rebellious daughter. The audiences had not seen Shefali previously in this kind of role and she surprised one and all with a rock-solid performance. Shefali Shah further surprised the spectators with her negative role in Human (2021).
Another similar example is Sushmita Sen, known for her glamorous roles, including that of lecturer Miss Chandini in Farah Khan’s masala potboiler Main Hoon Na (2004). While she was presented glamorously, the actor in Sushmita has mostly taken a backseat on the big screen.
Then comes Aarya (2020, 2021, 2023, and 2024) and Taali (2023)—the perfect examples of why Sushmita deserves better roles in mainstream cinema.
In Aarya— a crime thriller, she goes from being a single mother to eventually being sucked into the world of crime.
Taali, on the other hand, was a biopic of the transgender activist Shreegauri Sawant. In both these series, Sushmita was absolutely brilliant.
A realistic portrayal by Huma Qureshi
Huma Qureshi in ‘Maharani’. (X)
Huma Qureshi reinvented herself with the web series Maharani.
She has always been a competent actor starting from the Gangs of Wasseypur (2012) movies. She played important roles in movies like Badlapur (2015) but has never carried a film on her shoulders.
However, in the three seasons of Maharani, Huma showcased her larger bandwidth to play with. Her role of Rani Bharati (based on Rabri Devi) starts as a simple woman who is happy in her domestic life.
She is a school dropout much like the other women in her village. However, her life undergoes a huge change when her husband who is also the Bihar chief minister gets severely injured in a shootout.
From feeling like a fish out of water to becoming a fierce administrator, there is a huge canvas that Huma Qureshi got to play with and the actor absolutely nailed it.
In all three seasons, she got the nuances of the role spot on. She also did a good job of getting her dialect right.
Sonakshi Sinha & her acting prowess
Sonakshi Sinha in ‘Dahaad’. (X)
Then comes Sonakshi Sinha, who has shown that she is here to stay with Dahaad (2023) and Heeramandi (2024).
For a large part of her movie career, Sonakshi has played roles where she is restricted to just a song and dance routine, and being a damsel in distress waiting to be rescued.
These include Rowdy Rathore (2012), R Rajkumar (2013), the Dabbang films (2010, 2012, and 2019) and even the last theatrical release Bade Miyan Chote Miyan.
Yes, some of these movies have turned out to be money spinners but a sense of repetitiveness crept in.
However, the two-web series—Dahaad and Heeramandi—showed the actor in a very different light.
In Dahaad, Sonakshi Sinha was seen as a Dalit police officer (Anjali Bhaati).
On more than one occasion, she is insulted because of her gender and caste.
Sonakshi was adequately fierce and managed to capture the grittiness of a determined police officer well.
In Heeramandi, Sonakshi played an archrival to Manisha Koirala’s Mallikajaan; Sonakshi’s Fareedan is as ruthless and emotional as Mallikajaan.
Sonakshi Sinha chewed the scenery and more than held her own opposite the more accomplished Manisha Koirala. Fareedan was an absolute firebrand and Sonakshi did complete justice to her part.
A powerful comeback for Manisha Koirala
Manisha Koirala in ‘Heeramandi’. (X)
Heeramandi has also given a fresh lease of life to Manisha Koirala’s career.
In the films post her cancer recovery, the actor played a mother to heroes Ranbir Kapoor and Kartik Aryan respectively. There is a little depth in these characters for Manisha to chew into.
However, Heeramandi is a show that will give a major impetus to her second innings.
The role of Mallikajaan is far removed from all her previous roles; she never played a terrifying matriarch before. The body language along with dark shades is a completely new territory.
It is something that the viewers don’t expect from Manish Koirala, but the actor surprised everyone.
She portrayed both dark shades and emotional vulnerability with finesse.
Konkana Sen & Karishma Tanna
Konkona Sen, an actor par excellence, proved her talent over and over again in many shows and films. However, with Killer Soup (2024), the versatile actor proved she could play a negative character with equal finesse.
Konkona did play a negative role in Ek Thi Daayan (2013), but in that movie, she was just one of the three heroines. The Abhishek Chaubey directorial, though, had her as a major pivot.
Karishma Tanna in ‘Scoop’. (X)
In the Killer Soup web series, Konkona Sen played a housewife named Swati Shetty.
Swati dreams of opening a restaurant so she can have an identity of her own. But all she gets in the name of support from her husband are empty promises.
The role of Swati goes from a loving wife to a plotting woman. Konkona pulled off the different moods without fumbles.
Finally coming to the splendid performance of Karishma Tanna in Scoop (2023). The actor, too, has been part of known movies like GrandMasti (2013) and Sanju (2018). In these films, she was a mere glam doll.
But Scoop turned out to be a big game changer as the role was author-backed and Karishma made complete use of it.
In this web show, she played a journalist named Jagruti, who was falsely implicated in the murder of a fellow investigative journalist.
The role comes with many shades, starting as a confident woman who later becomes dejected yet maintains a fighting spirit in the harsh jail atmosphere.
Karishma Tanna was immensely successful in making the viewers root for Jagruti.
This is just a brief peek into how OTT has opened new doors for female actors. Many more women actors from mainstream and middle-of-the-road cinema are likely to join this list in the future.
Director Deepak Kumar Mishra does a wonderful job in mixing humor with emotions. The rural politics add a new dimension to the show
Starcast: Jitendra Kumar, Neena Gupta, Raghubir Yadav, Faisal Malik, Chandan Roy and others Director: Deepak Kumar Mishra Writer: Chandan Kumar Producer: Arunab Kumar Production Company: The Viral Fever Music: Anurag Saikia No of episodes: 8 Streaming site: Amazon Prime
For those who haven’t seen the two seasons of Panchayat the plot is about a young man Abhishek Tripati (Jitendra Kumar). Abhishek takes up the position of a panchayat secretary for lack of better options. In the first two seasons the viewers saw Abhishek getting himself acclimatized to the ways of a remote district situated in Ballia (Utter Pradesh). He forms a bond with the locals particularly the ones played by Raghubir Yadav, Neena Gupta, Faisal Malik and Chandan Roy.
Season 3 begins with Abhishek back in the city. At the end of the second season, he was axed from his job. A new secretary comes to the village to take his place but in a sudden twist of events Abhishek gets reinstated. His friendship with the village head /Pradhan Manju Devi (Neena Gupta) and the husband (Raghubir Yadav) has reached a strong level. There is also the pronounced romance between him and Pradhan’s daughter Rinky (Sanvika). Sure, there is no confession but for viewers it is apparent that they have grown fond of each other. Faisal Malik’s Prahalad is the depressed father who is still grappling with the death of his son. Chandan Roy’s Vikas is juggling between multiple duties job, married life and also being a pillar of support for Prahalad. Things take a turn when the arch army of Pradhan Bhushan (Durgesh Kumar) and co plan to settle old scores with the help of a local MLA. This leads to a major upheaval in the village ahead of the Panchayat elections, Abhishek finds himself in a tangle, he is sandwiched between village politics and aspirations of a higher job.
A strong aspect of Panchayat Season 3 is the director’s integration of the grassroot politics. There is a palpable intensity in the political rivalry that reflects the current times. Director Deepak Kumar Mishra deserves an appreciation for how he has dwelled into village politics and corruption at the grassroot level while maintaining the humor.
The love angle between Abhishek and Rinky is also fun to watch. On certain occasions she is the one who takes the lead. The light scenes between them work as a perfect contrast to the intense politics playing out. Sanvikaa does well in her limited role.
Neena Gupta’s character has come a long way, she has finally come out of her husband’s shadow. in this season Manju Devi participates actively in the council meetings and also voices her opinions without any fear showing a refreshingly different side. But just like the second season this time too the show could have done with more of Neena Gupta.
Apart from the political aspect the director also deserves appreciation for how he has dealt with the themes of mental health, loneliness, financial independence etc. through multiple characters. Both Chandan Roy and Faisal Malik continue to be an important pillar for the show. The character arcs of both is another plus. Jitender Kumar is good as always particularly in the moments of intensity.
Although gripping for most part some of the writing could have been better. For example, the role of MLA’s daughter doesn’t serve much purpose. Also, you have a person who joins a strike out of blue with hardly any build up.
These small niggles aside Panchayat Season 3 is a good follow up to the first two seasons particularly for those who like village-based stories.
Recently I have read a heart touching autobiography of a doctor who was suspended on the charges of medical negligence and corruption among other things. Dr Kafeel Khan went great lengths in order to procure oxygen cylinders in the year of 2017. He rallied the staff and did an incredible job in controlling the health care crisis. After being hailed as a hero the situation took a drastically different turn for both Kafeel Khan and nine more individuals.
As mentioned above Kafeel Khan’s autobiography is a deep dive into the various problems concerning the health care sector. He has given as many details as possible from his personal experiences, as a result the book comes across as authentic making the readers think and worry about the future of health care. A particular mention must be made of how he describes the shortage of Oxygen. The readers feel that they are watching the situation firsthand.
Through his writings Kafeel Khan has also touched upon the dangers of hate campaigns, how this hate campaigns can destroy both families and communities. How the media social and mainstream play a major role in escalating hatred has been elucidated in great detail.
The book also makes you salute the moral strength of Kafeel Khan. In spite of suffering so much his major concern is about the lives that have been lost and how more lives can be saved. He never gets into a communal debate regarding that incident.
Kafeel Khan’s autobiography leaves the readers with many thoughts not just about what Kafeel Khan had to go through, but the system of health care in general which is such an important part of our daily lives.
I have recently read Hussain Zaidi’s latest The Black Orphan. The novel goes along two tracks. On one hand you have a serial killer who is after India’s most famous nuclear scientists. Running simultaneously to this is a love story between a DIG Ajay Raj Vardhan who falls head over heels in love with a human rights lawyer Asiya Khan. Ajay Vardhan specializes in catching terrorists. She on the other hand constantly challenges the authorities by fighting for those who have been wrongfully arrested. As the story progresses writer Hussain Zaidi spins a gripping concoction of crime and duplicity with enough intrigue that holds the reader’s interest.
The Black Orphan does not have the depth of a Black Friday or the Mafia Queens of Mumbai, nevertheless it makes for an engaging read particularly for those who like action thrillers. An aspect of the book which I liked the most was it showcased a set of women who are both seductive and cold blooded. They use their charm to lure men and get their work done. The book has some unexpected twists particularly in relation to Asiya Khan. The book also works as a race against time with Ajay Vardhan almost losing his life in order to stop the villains. The book is apparently based on real life incidents and would definitely make for an engaging masala potboiler.
Saw the movie 8:AM Metro on Zee 5. The plot revolves around a homemaker Iravati (Saiyami Kher). She suffers from severe panic attacks; a traumatic incident is the reason. Iravati has a massive phobia of trains. All this changes when she has to make a trip to Hyderabad. Her younger sister is about to deliver a baby. Iravati has no other option other than to navigate the new city while dealing with anxiety attacks. She is also a closeted poet. Gulshan Deviah’s Pritam is a banker who bumps into Iravati at the Metro station.
The beginning portions of 8 AM Metro give the feeling that this is going to be another story of a married woman who will find a companion outside marriage. However as the story progresses the movie moves into an altogether different zone. Director Raj Rachakonda raises some relevant points on the society’s attitude towards mental health along with how they are just asked to be strong. There is a brilliantly executed scene of role reversal where Iravati becomes society and Pritam her. The movie also effectively uses the medium of poetry and literature to give life lessons. An important twist regarding the personal life of Pritam also catches the viewers by suprise. It is one of those twists that the viewers definitely don’t see coming.
Although the movie is engrossing for most part, there are a few logical loopholes which the director should have taken care of. One of them is Iravati spending more time with Pritam than her younger sister who is on the verge of delivering a baby. Also Iravati living in a place which is some distance from the hospital comes across as absurd. Performances wise both Saiyami Kher and Gulshan Devaih are stellar, they also share a wonderful chemistry.
Throughout the series, Raj Acharya sheds light on the challenges facing the LGBTQIA+ community and how societal acceptance still lags.
Murder in Mahim, 12-05-2024, Crime drama/Thriller, 8 Episodes, 16+, OTT
Main Cast: Ashutosh Rana, Vijay Raaz, Shivani Raghuvanshi, Rajesh Khattar
Director: Raj Acharya
Producer: Tipping Point Films, Jigsaw Pictures Productions
Music Director: Not known
Cinematography: Not known
Rating: 3.5/5
Published in: Southfirst
Undoubtedly, as a culture, we have made significant progress in our understanding of homosexuality, but there is still a considerable distance to traverse.
While the removal of Article 377 was undoubtedly a significant victory, there is still a great deal of societal discrimination.
Based on Jerry Pinto’s novel of the same name, Murder In Mahim, focuses on a spat of murders, targeting young boys from the LGBTQIA+ community.
These murders send shock waves through the locality of Mahim, and the police team led by Shivajirao Jende (Vijay Raaz) has a huge task.
Synopsis
In his quest to find the criminal, Shivajirao finds support from a long-lost friend. This friend is Peter Fernandes (Ashutosh Rana).
Peter Fernandes is a retired crime journalist and shares a troubled history with Jende’s father.
As the inquiry continues, Peter struggles with conflicting emotions over his son’s sexual orientation.
Peter believes his son is homosexual.
Analysis
Shivani Raghuvanshi plays Firadus Rabbani, a member of Shivajirao’s force. She is a closeted homosexual herself.
The plot of the story alternates between a murder mystery and a social critique of homophobia as it goes along.
A strong aspect of Murder In Mahim is the father and son dynamics, whether it is the one between Peter and his son Sunil, or Shivajirao with his father.
The diametrically different views of Fernandes and his son regarding homosexuality give the show, some of its best moments.
Because of the resentment in Shivajirao’s connection with his father, he feels uneasy all the time.
They both have a distinct temperament. In certain situations, Shivajirao treats his son more like a father would.
A stellar cast
Murder In Mahim also does a good job of revealing society’s murky side.
For instance, the Mumbai local station has a sombre restroom that is meant to be a place of safety for this community; yet, instead of providing comfort, this increases worries about how acceptable they are in society.
The character of Shivani Raghuvanshi is another highlight of the show.
Firdaus Rabbani has been in a secret relationship with a girl for a long time. She finds it difficult to reveal her relationship to the public.
Performances
The filmmaker has done a good job of highlighting the inner struggle that coexists with her professional responsibilities but some pointless digressions cause the audiences to twitch.
Murder in Mahim is a compelling series that not only keeps you interested in learning who the murderer is but also features some powerful dialogues about acceptance.
A case in point is the subplot of a knife, which belongs to a character who has nothing to do with the murders. The middle episodes do suffer from convoluted plotting, though.
Regarding performances, Ashutosh Rana and Vijay Raaz are seasoned performers who don’t require an introduction.
They both deliver strong performances and fully embody their respective roles.
Furthermore, Shivani Raghuvanshi contributes significantly to her ability to compete with Vijay Raaz.
Verdict
Murder in Mahim is definitely for those who enjoy whodunits and have empathy for the LGBTQIA+ community.
