Bheed Movie Review
A political film turns into a dazzling film when it figures out how to be a retaining story in any case as opposed to being a documentation. Anubhav Sinha has been unabashedly political throughout his 2.0 career, and I believe that, with the exception of Anek, the story dominated politics in every other film. The fact that a well-written story about our country's caste-based political reality was prominently featured in Bheed was a great feature.
The movie discusses the mass migration that took place in our nation when the government unilaterally declared lockdown. The states closed their borders to stop the migrant workers from returning to their villages because they had no place to stay in the big metropolises. The state border where everyone is waiting for permission to enter that state is the setting for the movie Bheed.
This line appears on the Bheed movie poster: "From the director of Mulk and Article 15." The script feels like a creative amalgamation of those two films, so the choice of those two films appears to be quite clever. Article 15 talked about the deeply ingrained casteist mentality in the society, whereas Mulk was talking about the public narrative that was islamophobic. Although the content of Bheed appears to be a criticism of the government's handling of the pandemic, caste and hate politics are more prominent.
A very simple method for making a political film is to use a zillion news reports to make a movie that criticizes the government. However, Anubhav Sinha ensures that his effort never appears to be a sterile collection of events from the beginning of the pandemic. In order to tell his political story, he uses the scenario in which every section of society was traversing the streets to get from one location to another. Sinha ensures that something about the impact of being inferior is conveyed to the audience even in a casual love scene. In any event, when Sinha's lower station focal person is "in control," he understands that being in control doesn't actually transform anything for him as the belittling look is still there.
Rajkummar Rao gets to play Surya Kumar Singh Tikas, a character who demands his complete dedication. The journey of Surya Kumar Singh Tikas is exciting, and Rao portrays it with complete conviction. The journey of Surya Kumar Singh Tikas includes the realization that the system will never want someone like him in positions of power. Pankaj Kapur plays Balram Trivedi, the migration victims who refused to look beyond their caste during those trying times. Bhumi Pednekar's better half person is a greater amount of a consistent encouragement to Rao's Tikas. However, the politics of the film are connected to the unpredictability of that relationship's future. As senior police officers, Ashutosh Rana and Aditya Shrivastav will always be remembered.
Through a variety of characters, Anubhav Sinha tries to include multiple points of view in the narrative. The journalist Vidhi, played by Kritika Kamra, is used by the director as a means of expressing his hope for a solution. Diya Mirza's character is an illustration of a majority that is completely unaware of the existence of a mass population whose future is highly uncertain.
To do equity to the subject, Sinha and the cinematographer Soumik Mukherjee have selected this monochromatic visual treatment, which certainly works for the film. Bheed surpasses its original goal of providing a cinematic account of the plight of the migrants during the initial days of lockdown by utilizing the numerous characters it created in its brief runtime. Bheed is a great example of how to incorporate politics into a well-crafted story, even though its slightly escapist and convenient conclusion did not completely convince me.
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