Come Saturday and JustInReviews is here with the latest Bollywood update in the form of this movie review. The movie to have released this week is Raazi.
Set in the times of the Indo-Pak war in 1971, an Indian girl weds a Pakistani Army officer to spy for her nation.
Raazi happens to be an adaptation of Lt Commander (Retd.) Harinder S Sikka’s novel titled Calling Sehmat, on a Kashmiri girl of mixed Sikh-Muslim parentage who gets hitched into a high-ranked Pakistani military family, in order to spy for India. The movie was promoted as an ‘unknown true story’ of the 1971 war, and was provided a willing stage from the Indian Navy — some stated, for promoting the Navy, that poorer cousin of the defense services, in a significant part.
Raazi can be called as true as a standard Bollywood flick can get in managing two nations that at present just deal with animosity and wars. For at its core are two ordinary families, isolated by a border not yet as depicted by detest, and combined in their individual love for own homeland. When they take a gander at the ‘other’, they don’t see a foe, however, individuals like them acting on of that same patriotic feeling.
Meghna seems to have paced the film well, bringing to life the characters who form the Sayed family, into which Sehmat is hitched, and afterwards slowly turning up the tension as the bride’s cover wears thin. While the simplicity with which Sehmat conveys messages over the border, tricking a number of individuals at multiple levels, in a standout amongst the most high-security homes in the nation, can be called somewhat questionable, the film however stays professional and thorough about it. It reaches most details in an economic manner, and does not spare Sehmat the dirt.
Where Raazi can be considered to fall short, is in awakening any sort of feelings about its numerous amiable performing artists, who are altogether a good bunch, particularly Ahlawat as Sehmat’s trainer and handler. The feeling of what is at stake is lost in the particulars of Sehmat’s missions, and the little points of interest of her life in a family she is going to wreck appear lost in organizing the greater plan. Truth be told, the pleasant moments in the film as strangers Sehmat and Iqbal inch towards one another influence us to think about whether in that lay a superior story.
Regarding performances, Alia Bhatt’s stellar performance keeps you engrossed into ‘Raazi’. Her transformation from the naïve young lady to a determined lady is subtle. Alia maintains Sehmat’s actual alliance concealed just beneath the surface from her new family, yet fortunately, in complete view of the audience. In the midst of all the convincing performances, this can be called Alia’s film as she keeps on pushing her limits as an actor while testing our desires of her.
Vicky Kaushal’s offers Iqbal an enchanting sincerity as he attempts to adjust his attention between Sehmat’s natural appeal, and the affection for his home country. Iqbal’s dad, played by Shishir Sharma, offers a commanding existence to Brigadier Syed as a man committed towards his official obligations over his family. Back on the home front, Rajit Kapoor marks his stamp as Hidayat who reluctantly picks his daughter’s destiny, keeping the devotion of his nation above all else. Obviously, there’s an evident savor in seeing Soni Razdan portray mother to her real-life daughter on the silver screen.
However, when despise and outrage happen to be the currency of the subcontinent, a film like this needs to be made. For looking into the Valley and discovering a good ‘ol fashioned patriot, for looking over the border and finding decency, and for providing Kashmiri weaving as worn by Alia a bona fide, latest, featherlight touch. Similar to a delightful Indian irony, anticipate that the garments will linger around longer.
That was Raazi for you.
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