Ensemble: Sanjay Dutt, Adita Rao Hydari, Shekhar Suman, Sharad Kelkar
Way: Omung Kumar
Omung Kumar’s ‘Bhoomi’ is, to state minimal, a disturbing film. The soreness doesn’t stem just from the dark motifs of rape and revenge, but also from the director’s treatment of the sensitive issues.
Erotic assault and assault are brutal works of abuse. They are simply unsettling not only for many who have been at their obtaining end, but for all rational individuals. In the other end of the variety, there are those who may derive a perverse pleasure in subjugating a weaker person, no matter the gender.
The repeated sensationalisation of such vicious crimes by the filmmaker implies a blatant disregard for the level of sensitivity that handling such a topic should automatically entail. Instead, what you get is a voyeuristic rape picture and a gratuitous item amount that make the film’s undertake this serious issue shamefully crude.
I felt like I had been watching one of those B-grade films from the 1970s that honored every common Bollywood formula, the primary target being to titillate.
Recent motion pictures like ‘Mother’ and ‘Green’, specifically the later does such a fine job of handling their concerns without a lot as obliquely alluding to the genuine incident.
There is a courtroom scene – quite certainly encouraged by Amitabh Bachchan’s memorable turn in ‘PINK’ – where there is a pointless discussion above the victim’s persona. Here, however, Sanjay Dutt reiterating that his girl is ‘characterless’ just does not have the same impact. It seems hollow and contrived.
Even the aspersions the security lawyer casts on your client are unnecessary because only a minute previously she seems to have already provided sufficient ‘substantiation’ that the rape didn’t happen at all. So why go on and malign her?
Even when we were to set aside the insensitivity at display, the narrative lacks coherence and logic.
The Police arrive as soon as a fistfight breaks out between Dutt and the villain (Sharad Kelkar) but there isn’t a cop around the corner when a person is killed in wide-ranging daylight.
Even though the revenge portion of this cringe-worthy saga plays out, it appears to make no sense in any way. It isn’t like a spontaneous appearance of blind rage. Dutt takes two months to decide on his reaction. If only there were some nuance to it all, the way Sridevi’s character plotted her strategy in ‘MOM’.
I am, in truth, appalled that Sanjay Dutt select this film to produce a comeback after all these years. Aditi Rao Hydari appears ethereal and vulnerable but cannot go above this flawed script.
Rather than actually addressing a very real issue, this tearjerker seems exploitative.
I am giving an extremely generous one superstar to the film. The legend is perfect for the purpose. The approach and the execution only remaining me with a bitter aftertaste.