Ardh Satya

Any story comprises a premise, characters and conflict. Characters plotting their own play promises triumph, and a militant character readily lends oneself to this. Ardh Satya's premise is summarized by the poem of the same name scripted by Dilip Chitre. The line goes - "ek palde mein napunsaktha, doosre palde mein paurush, aur teek tarazu ke kaante par, ardh satya ?". A rough translation - "The delicate balance of right & wrong ( commonly seen on the busts of blind justice in the courts ) has powerlessness on one plate and prowess on another. Is the needle on the center a half-truth ? "

The poem is recited midway in the film by Smita Patil to Om Puri at a resturant. It makes a deep impact on the protagonist & lays the foundation for much of the later events that follow. At the end of the film, Om Puri ends up in exactly the same situation described so aptly in the poem.

The film tries mighty hard to do a one-up on the poem. However, Chitre's words are too powerful, and at best, the film matches up to the poem in every aspect.

While Govind Nihalani's 'Ardh Satya' may not be the only movie of its kind (a decent cop trying to survive the corrupt system within the police force), its rawness, insight, grit and Nihalani's minimal approach in making the film make this film something outstanding. There have been numerous movies made since that attempt to tackle the very issues 'Ardh Satya' presents but hardly any of them (with a few exceptions like E. Niwas's 'Shool') have been able to match up to this classic that has stood the test of time. Themes like alcoholism, corruption, deceptions and power play are dealt with sensibly.

The subtlety in art direction, dialogue and acting, toned down score is very effective. Anant's despair and helplessness in a corrupt world where power trumps, his choice of joining the academy and his resentment towards his father are easy to relate to. His and Jyotsna's love story is a treat to watch and a welcome angle to the film.

'Ardh Satya' showcases Om Puri's acting as he delivers a transcendent performance. He captures Anant's nuances with conviction and appears very natural on screen. Amrish Puri, Shafi Inamdar and Naseeruddin Shah (in a small role) are superb. Smita Patil deserves special mention. How does one play an ordinary character so extraordinarily? Watch Ms. Patil in this for an answer. Her performance is natural to the core. She doesn't try to overshadow anyone nor is it one of those 'award-winning' roles but Smita Patil's presence beautifully balances the film. Her warmth, subtle charm, sincerity and quiet attentiveness complement 'Ardh Satya'.

I found the ending a little predictable but this is mostly because I have watched so many movies of this kind that have come out since (but pale in comparison). Yet, it's a strong ending and I can't think of a better one.

"Ardh Satya" is one of the finest film ever made in Indian Cinema. Directed by the great director Govind Nihalani, this one is the most successful Hard Hitting Parallel Cinema which also turned out to be a Commercial Success. Even today, Ardh Satya is an inspiration for all leading directors of India.

The film tells the Real-life Scenario of Mumbai Police of the 70s. Unlike any Police of other cities in India, Mumbai Police encompasses a Different system altogether. Govind Nihalani creates a very practical Outlay with real life approach of Mumbai Police Environment.

Amongst various Police officers & colleagues, the film describes the story of Anand Velankar, a young hot-blooded Cop coming from a poor family. His father is a harsh Police Constable. Anand himself suffers from his father's ideologies & incidences of his father's Atrocities on his mother. Anand's approach towards immediate action against crime, is an inert craving for his own Job satisfaction. The film is here revolved in a Plot wherein Anand's constant efforts against crime are trampled by his seniors.This leads to frustrations, as he cannot achieve the desired Job-satisfaction. Resulting from the frustrations, his anger is expressed in excessive violence in the remand rooms & bars, also turning him to an alcoholic.

The Spirit within him is still alive, as he constantly fights the system. He is aware of the system of the Metro, where the Police & Politicians are a inertly associated by far end. His compromise towards unethical practice is negative. Finally he gets suspended.

The Direction is a master piece & thoroughly hard core. One of the best memorable scenes is when Anand breaks in the Underworld gangster Rama Shetty's house to arrest him, followed by short conversation which is fantastic. At many scenes, the film has Hair-raising moments.

The Practical approach of Script is a major Punch. Alcoholism, Corruption, Political Influence, Courage, Deceptions all are integral part of Mumbai police even today. Those aspects are dealt brilliantly.

Finally, the films belongs to the One man show, Om Puri portraying Anand Velankar traversing through all his emotions absolutely brilliantly.

A man is given a choice. If he picks the easy option he gets to choose from two more. If he picks the tougher one there is a good chance he won't be given another. It is not just true of Anant Welankar, the young policeman in Govind Nihalani's Ardh Satya. The tougher choice looks brave and laudable, but it could quickly lead downhill. Developed from a poem by the same name, Ardh Satya is about the limbo marking the spot between cowardice and courage. It could either mean a compromise or a sign of intelligence. It is not either half-full or half-empty. It is both half-full and half-empty. On a scale of courage, this marks the middle between "impotence" and "manhood".

On one side is Impotence, and on the other is Manhood, and right in the middle, is the half-truth.

The sub-inspector played by Om Puri is much respected by his colleagues. They have all accepted their positions in the "potency scale" somewhere sliding to the negative. For every move this upstart of a cop makes towards the upkeep of his "manhood" – by ramming into the local goon's criminal activity or correcting eve-teasers – he is reminded of his eventual powerlessness. The system won't allow for his manhood because it is a secular place full of compromises. For Welankar, there is no half-truth. Rama Shetty (the goon) has to be put in jail. Thanks to everyone else, it cannot be done. It takes his naiveté to overlook the half-truth, the safe-house for everyone afraid of the full truth. For him, it is either one or the other. To fight this inner conflict he takes to the bottle, the universal succor he hopes will find him the middle of the scale. In turn, his drinking makes him more violent. He takes the system's cowardice as his own and stretches the limits of bravery. There is only trouble at the other end, but he pushes on, all the time answering the inner call to be a man. The memory of his father often beating his mother enrages him. Even that anger is more at himself than the father for he didn't stop him. All the while, the policeman opts for courage, but is forced to accept cowardice. Then he is given another choice. Then it goes again, the same way. Perhaps, there is no Ardh Satya and it is all just plain lies. But then, what's the point of the complete truth if it won't allow you another choice.

Ardh Satya is an excellently made film. Govind Nihalani leaves no stone unturned in his portrayal of the trials and tribulations of the main character Anant Velankar. He never wanted to be a policeman, but he reluctantly accepted the job because circumstances forced him to as his domineering father did not give him any other option. Now, as a policeman, Anant is honest, hard-working and justice-seeking. No, not at all what we get to see in mindless action films with their exaggerated portrayals of policemen going all nuts over their profession and their fake patriotism being the main issue. Here you will not see any of the silly action sequences or the caricature villains. Ardh Satya is a realistic film, its authenticity is more present than anything else in it. It's a true depiction of the life of an Indian cop and it does not submit to stereotypes, which could have been the easiest way to go.

As Anant, Om Puri plays a man who tries to fight criminals and those who break the low, but ends up having to fight against injustice within the system itself. This movie is just his story, not necessarily as a cop. It's about his dedication to his job, his frustration, his deterioration and fall from grace. Nihalani directs this feature with great integrity, and Vijay Tendulkar's script and dialogues are fantastic. Anant's relationships with those who surround him are aptly portrayed. The sequences showing his interaction with Jyotsna, a young lecturer of literature, are stupendous and are of the best in the film, right from their first meeting which opens the film to the time when they are already considering a future marriage. There isn't a lot of romanticism about it, but there's a lot of humanity and respect. Even the portrayal of his relationship with his parents, in spite of the minimal screen time it is given, is spot on and is very troubling.

Ardh Satya is a one-man show, and needless to say, it is Om Puri who dominates the proceedings with his heartfelt, brilliant performance as Anant. Puri is an actor who has very rarely delivered something unworthy, although he has been given stuff unworthy of his talent. This performance ranks amongst the finest works of his illustrious career. He captures Anant's honesty, determination, anger and devastation with sheer intensity, and is always moving, credible and convincing. The acting in general is very good in this film, but the rest of the cast are just here to support him, and they do it well. Amrish Puri, as the tough, violent and authoritarian father, is unsurprisingly excellent. He manages to convey a lot of his character's essence through just a few scenes. The same can be said about Sadashiv Amrapurkar, who does a lot with so little. Shafi Inamdar is also pretty good as Anant's boss.

Last but certainly not least, Smita Patil is first-rate in a role that was totally in need of someone with her intellectual capabilities and would have turned into inconsequential by a lesser actress. This is not at all one of those powerful author-backed roles she was known for playing, but it's still a very special one in her career. She does not try to impress or steal the show. As Jyotsna, she is natural, pleasant and exudes a certain warmth that is missing in the film. Above all, she had the ability to listen. I highly recommend you to observe the scene in which Anant shares with her his deep devastation towards the end. This scene, devoid of clichés, is one of the finest in the film, showing Om Puri's highpoint but at the same time Patil's wonderfully unconventional reaction of just being there, quietly listening and ultimately lending him a hand of support. The film's climax is most unexpected, and Ardh Satya is overall an excellent, involving movie that is highly recommended.