Movie Review
The problem with social issues in the Indian film industry (more commonly called Bollywood) is that they are not sincere. It is integrated with an interesting story rather than solving the problem. Too often, a story can't take you beyond the mechanics of its social significance.
Another feature is the lack of anxiety you feel as a viewer. The depiction of suffering and pain cannot escape "filmy" melodrama and often suffers from generational trappings.
'Beloved', for the most part, transcends these filmmaking conventions. It shows courage not only in exposing domestic violence but also in trying to create a space for Alia Bhatt's character Badru. But somewhere along the way, the descent "down the stairs" begins. And from there, Darlings cannot completely save itself.
Badru (Bhatt) and Hamza (Vijay Verma) get married after joining government jobs. It is a great advantage for those who want to become a groom in India. Almost three years on, their love marriage is still plagued by Hamza's alcohol-fueled rage and physical violence against Badra.
Hamza And Badra
Every day is the same story. Hamza gets drunk at night, disgusts the work assigned to him, comes home, whips Badra, and in the morning apologizes and tries to attract him. A police complaint almost sends Hamza to his doom, but he talks sweetly. Badru's mother Shamshu (Shafali Shah) tells him to be careful around the vengeful Hamza, who is trying to figure out who made the complaint.
At work, Hamza sees that drinking has damaged his liver and that he will soon die if he doesn't stop. He does, and things improve for a while as Badru gives birth to a child. As fate would have it, Hamza's paranoia gets the better of him and when he learns that the complainant is family friend Zulfi (Roshan Mathew), he suspects Badru of infidelity. From there, Badru turns to Hamza and imagines his darker, primal side in order to deal with him.
Domestic violence has plagued the Indian family for a long time. The experience of abuse and entitlement stems from the idea that women are the "property" of men.
This mindset is a generational legacy that we have continued as a nation into the 21st century. It doesn't represent who we are or our philosophical thoughts about the position of women in society, but it certainly represents an ongoing problem that is destroying people's lives. 'Beloved' has some cringe-inducing action moments. They confront you not only on the surface but also beyond it and force you to introspect.
Director
Director Jasmeet Reen transforms the fleeting currents of emotion in the story into full-fledged social themes. His canvas is wide and his generosity and devotion to the subjects is admirable. Bollywood films do not allow directors to have their own voice. Producers try to present films only in a profitable manner.
So Jasmeet is to be commended for standing still and setting up the trappings of his story without compromising the central flow of thought. Even her defiant female frame creates a brilliant picture. Its strength is that it is not too arbitrary and responds to the dynamism of its narrative. The difficulty is the ability of the structure to absorb deviations with the upper jaw.
Undoubtedly, the personnel involved in the film have distinguished pedigree. For those unfamiliar with Bollywood, Alia Bhatt is probably the most talented star in the industry with some pretty powerful roles under her belt.
She finds her best form while navigating while playing a simple girl influenced by grounded, personal goals; and a transformed, wounded woman bent on changing her life. Vijay Verma is fresh off his success in Mirzapur but faces a different challenge in the form of the sociopathic Hamza. Her character structure is compelling and admirable because of how she embraces the rage and entitlement of male privilege.
The menacing intensity is reminiscent of Fahadh Faasil in Kumbalingi Nights (another great film you should watch). In those intense moments, it really owns the screen and keeps you glued. Shefali Shah brings an unknown innocence and child-like spontaneity to the character of Shamshu, unlike any Indian mother we have seen. Roshan Mathew gives a solid performance in his Hindi debut.
Tonally, the transition from the first movement to the second is somewhat disappointing. Place the galvanizing moment in the story, the story goes down a bit. Unfortunately, the film peaks in the first act and lacks the ideas to go into the third act. There isn't much on offer for you as a viewer, especially if you've seen these types of films before. Repetitions can sound easier without sounding redundant. But it's probably the right word to describe the end product. The uniqueness of the play and the refreshing change from mainstream commercial films of heroes and heroines are the highlights of 'Sevgilimlar'.