Bandar Review: Anurag Kashyap has made a name for himself by going where most filmmakers would not and Bandar does it too with a disturbing sense of assurance. So it is one of those things that you can spot as a strength in the film when he shows up with Bobby Deol’s much-hoped-for return as starring lead. Renowned for his ability to bring the unlikeliest of characters to life, Deol is perfect as Sameer Mehra, a television celeb in the throes of a spiral, after he is abruptly arrested. The crime thriller slowly reveals itself to be something darker as the obsession, manipulation, media trials, and the slippery line between guilt and perception are explored. The film’s no-frills prison scenes, its documentary realism and the lack of simple answers make for an uncomfortable viewing. Even the jarring finale seems like it has been thought out, making viewers feel more questions than answers and plenty to talk about after the show’s over.
Kashyap’s subsequent films are all known for their unapologetic approach to uncomfortable truths and their often-unfilmable narrative styles. From movies such as Gangs of Wasseypur, Dev.D, he has picked topics that most film makers would have been reluctant to delve into, in Raman Raghav 2.0, he has done the same. Bandar does the same thing and writes one of the most disturbing and unvarnished stories in recent years.
The movie is based on Bobby Deol’s character Sameer Mehra who is a charismatic playboy. Sameer is a floundering star whose presence is mainly determined by the amount of coverage offered by TV channels. One day police officers appear at his house and arrest him as an FIR is lodged against him under Section 376. The story then becomes an engaging detective or mystery story. But is Sameer guilty or just a pawn in a well-laid conspiracy? Kashyap cleverly leaves the audience hanging and won’t give them any easy answers.
A thing that struck me was the film’s message on the dating culture in the present times. Right swipes and left swipes — the seemingly innocuous actions of the world — are a key factor in Sameer’s undoing. What starts as a normal interaction places him in a nightmare from which he can’t seem to find escape. The film doesn’t go so much as a moral sermon as a disturbing examination of consequences, misunderstandings, obsession and manipulation.
The jail scenes are undoubtedly some of the most powerful and challenging scenes in the movie. Kashyap paints a picture which is suffocatingly real. The prison is loaded, no stylisation, no sanitisation for the film. Rather, it is filthy, bloody and exhausting. I sometimes found myself feeling uneasy seeing what was happening on the screen. The setting is so brutal, it conjures up a feeling of being there. Some of the scenes are very difficult to watch if you are a sensitive viewer.
Bandar is the one place that is dedicated to authenticity. The fragments of time that seem less than ideal seem planned. Though there are some slight blemishes in dialogue delivery and some awkward pauses, there’s no harm done, and the film has a very documentary quality. It makes it more realistic, and it makes us see that we are viewing imperfect people and not perfect movie stars.
Bandar is an A rated film, so it doesn’t back down. In the first few minutes, it is evident that the dramatic language, the disturbing atmospheres and the morally complex characters will be the ones that will rule the show. None of it is just for shock value, however. The overarching theme is one of revealing more fundamental truths about power, corruption, revenge, media influence and the darker side of human behavior.
Obsession is also explored in this story, which is done in a very disturbing way. As things kept going, it occurred to me how dangerous it was when emotions were allowed to run free. Kashyap not only delves into the psyche of the individual, but also into the inadequacies of institutions and how the public perception can ruin lives before the true facts emerge. It’s a movie that is always thought-provoking.
The ending is worthy of special mention. At the end of the credits I could see people debating what they had just seen. The question may get posted in many minds, “Wait, the movie is over?” The ending is not definitive, but leaves the viewers with questions. I personally liked that option because I would think about it long after I was done watching.
The film never starts slow, and it’s never over at around 2:20. This isn’t a film that can be seen while distracted. Each interaction, each look, each insignificant detail adds to the whole. One could miss a small moment and have a different interpretation of later events.
Bobby Deol’s performance is one of his best in his career. He convincingly evolves from a failing actor who is looking for love and intimacy to a victim, to a character who is to be pitied, and finally to a frustrated and despairing man. Emotions are never forced into transition. The supporting performances are also very good. Jitendra Joshi, Sanya Malhotra and Raj B. Shetty lend depth and credibility to the story, Shetty giving a quirky and memorable appearance in his avatar.
Bandar is a daring venture in risk-taking cinema, produced by Nikhil Dwivedi. It is uncompromising, uncomfortable and unrelenting in its grit. More significantly, it believes in audiences that will tackle challenging issues rather than provide low-brow diversions.
Bandar proved to be a strong crime thriller, with a strong psychological element, social commentary, and some great acting. It will not be everyone’s cup of tea, especially if you’re searching for some fun. But if you like raw stories, multi-dimensional characters and the signature directing style of Anurag Kashyap, then you must give this a shot.
Rating: 4/5
