Article 15 Review: Director Anubhav Sinha Brings Out A Raw And Riveting Film That Is Relevant Now More Than Ever

Film: Article 15

Director: Anubhav Sinha

Actors: Ayushmann Khurrana, Manoj Pahwa, Mohammed Zeeshan Ayyub, Sayani Gupta, Kumud Mishra, Nassar, Isha Talwar

My Verdict: The Writing And The Direction Take Centre Stage In This Unnerving Dramatization Of Reality – A MUST WATCH

Rated: 3 Out Of 5 Stars

Article 15 of the Indian constitution guarantees equality to all citizens of India irrespective of religion, race, caste, sex, place of birth. Anubhav Sinha’s film named after the Central Government Act of the Indian Constitution is some work!

The film is inspired by real events but is set in the fictional village of Lalgaon. Ayushmann Khurrana plays Ayan Ranjan, a married IPS officer who graduated from Delhi’s St. Stephen’s College and he has also lived in Europe prior to his posting in the hinterland of India. Therefore, right from the start, there is a discordance that is evident between his views and those of the people who belong to the village.

The narrative begins with the gang-rape of two underage girls in a school bus and the investigation of the case forms the crux of the rest of the film. When he starts to delve into the case, he is asked not to pay much attention to it as it is a common affair and that the girls will eventually come back. However, things turn grim and the bodies of two girls are found strangled from the branch of a tree. The film gives an in-depth insight into the plight of the lower caste people in the rural areas of India. Honestly, I was absolutely unaware of the different castes showcased in the films. From Paasis to Chamars, From Kayasthas to Dalits, from Brahmins to Kshatriyas so on and so forth. Therefore, personally, it was also an eye-opener for me.

Coming back to the film – Khurrana’s Ayan takes the reins of the case in his hands and even though he is not well-versed with the milieu of Lalgaon, he leaves no stones unturned to uncover the truth. Several dissentient voices crop up to impede him during his investigation, his colleagues persuade him to stop his inspection. For instance, at one point in time, Manoj Pahwa who plays Brahmadatt (one of his colleagues) says, “Aap Logo Ka To Transfer Ho Jaata Hai, Hume Maar Diya Jaata Hai.” (You will be transferred to some other place, but we will be butchered.”

Ayan keeps talking to his wife (who happens to be a social worker) over the phone which happens to be some kind of a respite for him from a space that is ridden with all sorts of discrimination and injustice!

The film is a hard-hitting and riveting exposé of the underlying issues that pertain to the common man of rustic India. Ayushmann plays his role to the T but again he is a bit too restrained. His cop act is praiseworthy but his appearance at times fails his performance. The stereotyping of the IPS officers in the Hindi cinema space should just be over and done with. The aviator sunglasses has almost become synonymous with the cops on the Indian screen so much so that it seems gimmicky at times. Unfortunately, the audiences lap it up and hence the trend continues. Actress Sayani Gupta plays the role of a low caste woman who is hell-bent on finding her sister who was one of the three girls to be abducted. Sayani has proved her mettle in various projects she has been a part of and in this film too, she delivers an excellent performance. Mohammed Zeeshan Ayyub, Manoj Pahwa and Kumud Mishra also played important characters in the film and their powerful performances made the film even better.

More than the acting bit, it is the direction, the scripting and the dialogue writing that deserves a special mention as far as this film is concerned. Anubhav Sinha is known to make films that deal with poignant issues the country grapples with and this film is no different. The adept manner in which this complex caste issue has been dealt with deserves a pat on the back of the filmmaker. The scenes that are written for the film are so impactful that at times it will well up all sorts of emotions in the viewer – right from anger to pain, from shock to disdain! One scene that I need to mention in regards to this is when the case has been handed over to the CBI and Ayan sits in front of a senior CBI investigator played by Nassar. Ayan vents out his frustration about how, he had all the proofs with him and yet is helpless because of the very system he is part of. Nasser’s CBI officer warns him that he has to face repercussions due to his insolence. Ayan thunders, “Delhi mein kabhi Yes Sir Yes Sir Ke Jagah Ek Baar aapne No Sir Bol Diya Hota To zyaada se Zyaada Kya Ho Jaega… Woh Ho Chuki Hai Aapki, Bas Aapko Pata Nahi (What do you think would have happened if Instead of being a yes-man during your stint in Delhi, you would have said No just once? Well, that has already happened to you. The only thing is you are not yet aware of it.)

The dialogues by Anubhav Sinha and Gaurav Solanki hit the right chords. In another instance, Mohammed Zeeshan Ayyub who plays Nishad (a rebel from the lower caste) says in his mind, “Waise Bhi Jo Awaaz Uthata Hai Usey Desh Ki Suraksha ke Liye Khatra bata diya jaata hai aur fir khatam kar diya jaata hai.. darasal hum subko desh ki aisi surakhsha se khatra hai! (Whoever speaks up against the leaders is termed to be a terror for the country and then he or she is silenced. The thing is, it is this kind of protection we are in danger of).

The cinematography by Ewan Mulligan is excellent, the ariel shots that showcase the expanses of the countryside or the shots during dawn that is laden with mist and fog. Also, the tones of blue and green that are deliberately used in most of the scenes that have an eeriness to them and then in places where the beauty of the countryside is to be showcased, some bright and warm tones are used.

The background music was also gripping and did give the entire narrative the right push it needed. However, the rap in the end just shattered the mood, so much so that I had to leave the screening while it played. It was downright uncalled for!

All in all, a rousing and riveting and relevant film that must be watched by all and sundry.