Raazi

This is how Indian movies shud be made without the usual bollywood nonsense. Set during the Indo-Pakistani War of 1971, the film concerns an Indian female spy Sehmat married to a Pakistani military man. I haven't read the book but I still thoroughly enjoyed this film. The director did a masterful technique of placing the audience in Sehmat's shoes, the audience is privy to the information as she receives n passes on to the Intelligence bureau. Alia Bhatt as Sehmat did a terrific job n Vicky Kaushal as her husband was an icing on the cake. The scene of the marriage consummation is aptly placed. I am really surprised n happy that for the first time Bollywood hasn't demonized enemy soldiers. It is a slow burner, this is neither an Akshay/Salman/Sunny Deol movie. There are no action sequences or intense shootouts. Most of the film is shot in the house. This is entirely unglamorous, but the film does have an underlying tension n relies on the impending sense of dread which hangs over Sehmat's entire investigation. Ther r two scenes wher Sehmat is almost exposed n the reaction n facial expression of Alia during those two scenes were amazing. My only cribbing is why on earth the servant has to run or keep on running rather than alarm other people. Nevertheless a very solid n different Indian spy thriller. Happy Ramadan. Fasting is anti cancer.

Meghna Gulzar's Raazi is the kind of film you watch in one breath, and it keeps you right on the edge of your seat. Telling the story of a young Indian Muslim woman who follows her father's footsteps to become a spy by marrying into a Pakistani army family during the 1971 Indo-Pakistan war, Raazi is a gripping, taut thriller. The script is excellently written, infused with great detail and a fascinating glimpse into the complexity of the relationship between the two nations. The entire espionage track is handled with mastery and is only benefitted from the unpredictable proceedings, keeping the viewers hooked all through.

Raazi breaks the paradigm of heroes and villains in the name of communal strife. The film highlights the characters as real people and makes sure to never glorify or demonise one side or the other based just on their nationality. The main protagonist, Sehmat, could be seen in either a positive or negative light depending on the personal stand of a given audience on the subject, and never are we explicitly encouraged to take sides. Are her actions moral? Is she a good person? All these questions are left to the viewer's conclusions, and opinions might be varied, but the human effect is always there, and setsting it apart from other gripping but shallow spy thrillers.

Meghna Gulzar, herself the daughter of one of India's prime poets and film directors, does a fantastic job with Raazi both as a thriller and as the human story it ends up being. On all technical accounts, the film is excellent, be it the setting, the cinematography, or the music, but its dramatic urgency is equally as meaningful. Through its extraordinary story, Raazi lets the viewers contemplate on the concept of nationalism, which might tread a fine line between patriotism as in positive national pride and love of one's homeland, and then just pure jingoism. Some may say it advocates for pacifism, but we never know what it actually intends to convey.

The acting is just fine by one and all and, needless to say, it is Alia Bhatt who the film belongs to. The role of Sehmat, a woman who is on a mission which places her under constant pressure, is a challenge to any actress, and a young and pretty Bhatt really looks the part by virtue of her unassuming and trustworthy appearance. She is efficiently delicate all through, even phenomenal in some hard-hitting scenes, and although there are weaker moments here and there, her lack of experience turns out beneficial to her portrayal, particularly in view of Sehmat's blend of determination and inner conflict.

Vicky Kaushal, just like in real life, seems like a perfectly decent young man, one it's almost impossible to ascribe negative action or malice to. It's another case of a great casting choice, and he is just always so easy to like and sympathise with in a wonderfully understated performance. It goes without saying that it is his character that we end up feeling the most for. These two work well together, and even despite the minimal importance their romantic equation is given in this tense, political thriller, it manages to leave an ultimate mark. Do watch this absorbing film to see how it concludes.

Until the interval, the film was slowly boiling but felt like something was missing. But a powerful scene just before the interval explained the whole film in a go. Sehmat undresses herself after a killing, stands under the shower and cries - the cries crack up the heart. One surrenders to the nation irrespective of the in-depth emotions, until Raazi came up the films relied more on nation. But, Meghna Gulzar proves, Emotion is greater than Nation.

The complex nature of the film might come across as a defect, beneath the surface the heart is rapidly beating and the conflicts underline every character. The borders cease to exist, writers Bhavani Iyer and Meghna Gulzar team up to built a strong sense of emotional play. And this is just what I always expected from a war-torn film. The dynamics of "Ae Watan" play in context to both the countries, there's no hero or villain - humanity is. Bollywood has often patronised the term "patriotism", Raazi steps beyond it by taking up the humanistic approach brilliantly. And then, the following dialogue works as a paradox- "Watan Ke Aage Kuch Bhi Nahi, Mohabbat Bhi Nahi (there's nothing beyond a nation, not even love)", says Iqbal Syed.

Sehmat played by Alia Bhatt carves into emotion during the shower scene, often her anxiety comes across childish which just stands as a mould. Watching the film with a peaceful mind might help to digest the thought properly, and I guess, our nation needs such a thought owing to the present "nationalist" agenda.

Raazi does what very few Bollywood movies do right. It pulls off a tight script with good acting, and a realistic believable storyline that leaves you on the edge of your seat for two hours. The film also manages to maintain a tight pace while building up towards an impactful climax. In particular, I think three things made it unforgettable:

Firstly, the acting was on point, and made the movie what it turned out to be. Alia Bhatt is turning out to be an absolute genius, and has come a long way from her 'student of the year' days. There are very few in her peer-group that can do justice to these kinds of roles. Vicky Kaushal was good as the beguiled husband, and his restrained yet emotional male character (supporting a powerful female lead) is a Bollywood rarity, and was thoroughly enjoyable. The others are on point too, with minor actors like Jaideep Ahlawat and Rajit Kapoor delivering strong performances.

Secondly, the movie turned out to be tight and on point, with no melodramatic displays of emotion or sappy songs. The good old premises of a bride departing to her husband's household for (presumably) good, the arranged marriage with a virtually unknown man, and eventual marriage consummation were all present, in theory. These are all typically perfect opportunities to inject unnecessary bridal parting songs, lengthy wedding song and dance sequences (boy's side, girl's side, etc.) and the worst of all - a song balancing sleaze with "Indian culture" (read: censor board mandated restraint) that plays when the marriage is consummated (this is typically a couple kissing and rolling around in a bed, carefully clothing their privates with velvet or satin sheets). But Raazi eliminates all of this fluff and more, leaving you wishing more movies would do away with the crap in favor of keeping the pace of the plot.

Lastly, and most importantly, Raazi does justice to the complexity of the India-Pakistan conflict. The countries have a shared history which makes the war painfully more unique (e.g. Abdul, the oldest and most faithful caretaker in the Pakistani household is of Indian origin). The movie takes no sides, and shows you that humanity and ruthlessness exist on both sides. This is a significant departure from the patriotic films of yesteryear - we are habituated to seeing a good vs evil theme, and having Pakistanis depicted as soulless warmongers. And so, you are simply not prepared to empathize with Iqbal's (Vicky Kaushal's) gentle persona, and when you do, it his vulnerable humanity hits you like a truck. Conversely, the hardened Indian intelligence agent Mir is many things during the movie, but 'human' he is not.

I walked away from the theater understanding better the nature of such wars, and that the real conflict is not over Kashmir, or between two sides, or between ideologies. The real conflict is always fought within the human heart: between the ruthless imperatives of duty, and the very human urges of gentleness, mercy and love.

A great movie! What's surprising is, Raazi doesn't dwell into traditional bollywood subplots. It doesn't have any dance numbers, nor does it have any melodramatic romance. It stays true to what it sets out to do right from the beginning. The lead actor Alia Bhatt manages to get into skin of the character so comfortably that you forget that you are watching a movie, instead you feel the pain she is emoting.

What is brilliant about the film is that you keep expecting that every scene is leading you to a traditional Indo-Pak friendship kind of an ending with a stong social message. But what astonishes here is that the movie manages to remain a BRUTAL story of spy carrying out its mission through out. An out and out hardcore spy thriller with a women protagonist, so beautifully crafted that you are left spellbound.

Meghna Gulzar captures the simplicity of characters with so much depth that you are bound to sympathize with every character. Take a bow!

All actors are at par. Direction is superb. Camera work is crisp. Background score is perfect. This movie is a gem.