Shanghai would definitely figure among the most awaited films
of the year by most discerning film lovers, coming from unarguably among the
finest filmmakers in the country today – Mr. Dibakar Banerjee. But alas – the
bad news – overall the film is quite bare-boned and one cannot help feeling
underwhelmed.
To begin with, the first 15-20 minutes are clunky and boring. Although the film gradually keeps becoming engrossing, as it
progresses, it never quite pulls you in. The story is quite basic, and one
could easily have known the premise if you have seen the promos – there is
little mystery beyond that. Personally, I welcome the lack of intricacy and
absence of too many sub-plots in a thriller, provided the mood and the milieu
are captured well.
Still, Shanghai is a very fine film, and is not without its
strengths. The backdrop of the film is based on the destruction and
displacement caused in the heartland due to our politico’s flawed definition of
‘development’. This theme becomes
extremely relevant, especially in the current backdrop, where we constantly
hear of how large steel and coal plants displace tribals and villagers; how
their traditional organic means of livelihood are snatched away from them; and how they are given jobs of sweepers and
guards at these plants. It is extremely important that such issues are touched
upon in our films and anyone doing that is worthy of applause. Here is one area
where Dibakar excels –conveying things without saying out anything aloud. In
fact, Dibakar keeps it too subtle and cerebral. One wishes if this aspect was explored further – especially the point of
view of the residents of the town, which is completely absent. But then one is
reminded that the film is a thriller, and not based solely on the issue.
The most interesting thing about the film is the depiction of
politics and the functioning of the bureaucracy, in particular. Notably, the
scenes where Abhay Deol is conducting the inquiry – actually most scenes with
Abhay Deol and Farooque Shaikh are engaging. One always reads of inquiry
commission being set up, in the newspapers. It is interesting to actually see
how they are conducted; the scenes seem authentic and well-researched. It makes
one wonder, what one would do if I were in Abhay’s shoes– take the easy way out
or go against the tide and rock the boat. Also, being a Dibakar Banerjee film,
the film is full of nuances – these nuances keep soaking in long after you have
seen the film. The item song Imported
Kamariya really adds to the film with its delightful lyrics – this
number was what kept ringing in my head after the film.
Among the characterizations, Farooque Shaikh impresses the
most; Abhay Deol is also first rate, but his characters is sketchy...one keeps
wondering where he is on the conscience graph – the two poles being that of a
conformist and a rebel. But he performs his part well. Kalki’s characterization
is the biggest letdown of the film – she has a constant terror-struck look –
seems like she walked into the sets of ‘The Girl in Yellow Boots’ or some such
film. Her infatuation for Prosenjit Banerjee, who plays the activist, is rather
odd and unconvincing. Emraan is good too and proves that he is a versatile actor
with this role. Prosenjit Banerjee is well cast and does an impressive job.
Although each frame in Shanghai is filled with all the
elements of fine, intelligent filmmaking – in terms of the nuances, subtext, performances, dialogues – it just doesn’t involve the viewer enough. The
crispness is overdone – Dibakar should have loosened up sometimes and
let things flow. One wishes that the film had more ‘heart’, and less craft.
