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Aligarh: Some Notes

  • Merkwürdige Liebe

    Merkwürdige Liebe

    Desimartini | Updated - February 26, 2016 4:09 PM IST
    3.3DM (249 ratings)

    Verdict - A tender, sensitive portrayal of the story.

    Aligarh Watch trailerRelease date : February 26, 2016

    The most refreshing thing about Aligarh is that even homosexuality figures as a key aspect of the film's themes, it never feels like an "issue-based" movie. Director Hansal Mehta, after the superb Shahid and a lesser effort in CityLights, returns to form with Aligarh. Much like in Shahid, he lets the silences in the movie take the centrestage and conveys volumes through the images, the mark of a director in smooth control of the medium. At the focus of the film is Professor Siras (Manoj Bajpayee) who teaches Marathi at Aligarh University and the bond he develops with a much younger journalist Deepu (Rajkumar Rao), who at first is only interested in Siras' case from a journalistic viewpoint. The strength of the film, written by Apurv Asrani, is in the complete insiders' gaze of the camera and the nuanced way in which he portrays the relationship. Particularly impressive is the camerawork by Satya Raj Nagpaul (who was also the cinematographer on Gurvinder Singh's two great film including Chauthi Koot, which premiered alongside Aligarh at last year's Mumbai Film Festival.) The reason Aligarh works so well is because its focus stays on the relationship at the centre (both Bajpayee and Rao are superb in their respective parts) and instead of turning his focus on addressing the various aspects of the issue (a trap which the recent Angry Indian Goddesses couldn't avoid), it handles the core relationship with as much sensitivity and without making much fuss of it.

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