Secular Weapon

It is a commonplace phenomenon in Bollywood that a good film goes unnoticed, and I believe that is what is happening with Pooja Bhatt’s Dhokha. A well made, thought provoking film, the two biggest flaws with Dhokha, however are that, it is very badly marketed, and the fact that the title and the legacy of the Bhatt brand, together make it sound like yet another sleaze flick. The film is anything but that, and if one were to segregate all the Bhatt offerings, this one would fall under the category where Zakhm belongs.

A taut and crisp screenplay with well penned dialogues, are the strengths of the film. Nowhere in the proceeding of the film, does any scene look unwanted, and neither does any song. In that sense the film does boast of good editing. Also, the songs, apart from being soothing add to the story, and this is one film where the songs aren’t meant to be for a trip to the loo or for a bite at the snack counter.

Director Pooja Bhatt, with the strong and able support of her writer, Shagufta Rafique, emerges triumphant in portraying the true face of terror. The notion of terror and its modus operandi are truly secular in the film, as both the sides of both the communities are showcased and the film doesn’t take any moral stance on either of them. Terrorism remains a notion in the film, and it takes the face of certain individuals, who work for it and some others who fight against it, though the stress of the portrayal does lie on the Islamic community.

Another highlight of the film is its focus on the act of incrimination by the police, which converts an innocent into a convict. It is the story of Sara, who after being tortured by a uniformed goon, who uses his own body as a weapon to harm and hurt a woman’s integrity, takes to her own body, not only as a defense mechanism to fight her internal conflicts, under the misguided influence of a fundamentalist but also as an offence mechanism, and becomes a suicide bomber. However, one major flaw with the narrative and the film, is that her internal turmoil and the journey which she takes while she lets go of her morality to embrace mortality haven’t been shown, and therefore the viewer can’t be in a position to judge the right and wrong of Sara’s deed and the circumstances under which she took the lethal decision.

The plot of the film does become slightly predictable when Zaid, Sara’s husband and the hero of the film decides to stop another suicide bomber, but the smooth progress of the events and a gripping climax, with well handled emotions make sure that the film’s graph proceeds only in the upward direction. The final comment by Anupam Kher on what true Jihad is actually about comes as a perfect end for a powerful story which the film boasts of, and triggers a thought even in the most indifferent viewer. Dhokha isn’t a film which you can watch over popcorn and then forget everything about the film, as you leave the theatre.

Director Pooja Bhatt handles the film well, and the interest in the film is maintained till the climax. She balances the message and the entertainment perfectly, and in several scenes does remind the viewer of some of her father’s films, including Saaransh (the scene where Anupam Kher claims his son’s body) and Zakhm (the backdrop of the communal tension, and the scene where a Hindu rejects Zaid’s blood for his ailing daughter). The politician like styling given to Zaid’s friend, when he decides that Zaid is a culprit also makes a statement. The film has many such subtle underlying messages, if one were to sit and watch it carefully. Barring a couple of flaws in the plot, and the underplayed treatment to an important issue (Sara’s ghastly internal journey) she has definitely done a good job. Another person who needs to be lauded is writer Shagufta Rafique, for her style of unfolding the plot, and the dialogues. Editor Deven Murudeshwar has managed a crisp film, which is quite a rarity these days. Even the other technical departments are handled well.

Muzamil Ibrahim makes a confident debut and enacts the part well. Tulip Joshi could have been given a meatier role, but she is fair to whatever she gets. Other actors also do their part well, and Gulshan Grover and Anupam Kher are in form. The music fits in with the plot, and is soothing and pleasant.

Dhokha is a topical film, which will make you think. Unfortunately there is no hype surrounding it, and this is perhaps the worst marketed film from the Bhatt camp. A better marketing effort and a more appropriate title (which would have been devoid of the sleazy metaphoric connotations) would have ensured better prospects at the box office for the film.

It isn’t often that a film like this is made, and it is indeed sad that it goes unnoticed. Dhokha might not be a brilliant movie, but the earnest effort and execution should at least be acknowledged!