As a die-hard fan of gritty action movies with a soft spot for strong female leads, I found “Jigra” to be a rollercoaster ride of emotions – from gut-wrenching moments to heart-pounding suspense. The film’s lead actress, Alia Bhatt, once again proved her mettle as an actress with her fierce portrayal of Satya. Her unwavering determination and physical prowess were a sight to behold, making me wonder if she secretly trains in a ninja dojo when we’re not looking!
The film titled “Jigra” (signifying both heart and courage) is simultaneously gut-wrenching and emotionally intense, yet somewhat implausible and lacking in logical coherence. Vasan Bala, the director and co-writer, crafts a prison escape narrative that aims to balance poignant sibling drama, exhilarating action sequences, and nail-biting suspense. While it doesn’t quite achieve all of these elements flawlessly, lead actor and co-producer Alia Bhatt once again underscores her remarkable talent.
Regardless of the plot’s vagueness and the overly convenient twists, Bhatt never falters in her performance. She radiates an incredible intensity as the leading character Satya, her gaze unwaveringly portraying sheer resoluteness. Despite her petite stature, when she subdues a fully grown man, it’s believable due to her unyielding conviction. In one instance, another character praises her as a gundi (gangster), which in this context is flattering.
Satya is indomitable due to her premature upbringing experiences. Growing up, she and her younger brother Ankur (Vedang Raina) were considered more like household help rather than family members by their extended relatives. When Ankur gets imprisoned in the fictional nation of Hanshi Dao, which is said to be neighboring Malaysia, Satya vows to go to any lengths to free him. By the story’s end, she transforms into a sisterly superhero, characterized by her resilience, inventiveness, and ultimately, her transition into an all-out action heroine.
As a gamer, I dive right into the action from the get-go, crafting a tale alongside Debashish Irengbam (co-writer) and Prerna Saigal (editor). We ensure that characters and their relationships are set up neatly, even before the credits roll. Notably, we reveal the opulence and underhandedness of Satya and Ankur’s family members – these guys own private jets, but they didn’t amass their wealth through kindness.
Swapnil Suhas Sonawane, known for his exceptional camerawork on Monica, O My Darling (Bala’s latest feature), is responsible for the cinematography. There are instances where the cinematography and direction become overly flashy, like a scene with black-and-white frames that seems unnecessary. However, Swapnil, along with colorist Sidharth Meer, generally manage to create an atmosphere that’s both strange yet familiar, stunning yet ominous for Hanshi Dao and the correctional facility. Scenes are often tinged with red, while the finale features a creative application of smoke.
Among the most impactful scenes in the movie is where Satya and Ankur initially cross paths inside prison. Raina, who skillfully blends acting talent with charm, delivers an exceptional performance. Similarly, Achint Thakkar’s music significantly contributes to the scene, as his melancholic, poignant notes heighten the scene’s emotional intensity and tension.
When the plot shifts towards the jailbreak sequence, the movie loses its balance and fails to regain it. One of the weak points is the character of Hansraj Landa, portrayed by Vivek Gomber, a corrupt warden who derives pleasure from tormenting his prisoners. Such characters are often seen in movies, like Bob Christo’s role in Mahesh Bhatt’s 1993 film Gumrah, where Soni Razdan and others starred, and which some have identified as the basis for Jigra. However, Christo’s character wasn’t particularly convincing, and neither is Landa. Given his family’s long history in Hanshi Dao, Landa seems more local than Indian, and speaks English with a unique accent. Despite Vivek Gomber’s efforts, it’s hard to accept this character as credible.
Satya’s bond with her associates mirrors a comparable dynamic. Manoj Pahwa portrays Bhatia, a former gangster who claims his role, and while the actor skillfully turns even the most insubstantial moments captivating, the character appears tailored to bring an element of popular allure. As an ardent fan of Amitabh Bachchan, Bhatia plays tracks from the iconic film Zanjeer, which solidified the persona of the “angry young man.” Similarly, Satya embodies the spirit of the “angry young woman.
As I immerse myself in this game, it’s clear that Bhatia has given Bala room to pay tribute to the past and his affection for hidden references. Classic Hindi film tracks like “Jhuki Jhuki Si Nazar” by Kaifi Azmi and “Yari Hai Imaan Mera” from Zanjeer are frequently played, along with iconic lines from Bachchan’s performance in Agneepath. At one point, a guard calls out names of prisoners that seem to be filmmakers Bala admires, such as John Woo, Wong Kar-wai, and Kim Ki-Duk.
In the immersive world of Hanshi Dao, I found myself unwittingly drawn into a simmering struggle for freedom. As personal liberties were gradually curtailed, a resistance movement started to stir. One dramatic moment in the game involved watching a statue of a powerful leader crash down, evoking memories of Saddam Hussain’s statue toppling in Iraq. However, these political undertones felt somewhat vague and didn’t significantly contribute to the overall narrative flow.
As the climax of Jigra unfolds with a flurry of gunfire, it leaves one feeling that anything could happen – a twist that somewhat lessens the story’s emotional weight. Yet, watching Bhatt sprint across a rooftop in slo-mo, armed and menacing, is an aesthetically pleasing spectacle.
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2024-10-18 03:55