An online film journal for Indian Cinema
Director Anurag Kashyap really knows how to cast his films, finding actors (rather than working with stars) with the right level of anxiety in their faces, inculcating a strange volatility in the audience. Ugly could almost be a companion piece to Peddlers, a film produced by Kashyap and which is stuck in distribution hell with Eros. Both films are vicious tales about the city and its contemporary, hollow middle class inhabitants. Kashyap’s depiction of their psychology borders on derision, but the narrative meanders and gets caught up in the trap of trying to make all the pieces fit together especially towards the end. The story revolves around the kidnapping of a 10 year old girl but this becomes merely a device for Kashyap with which to get beneath the sordid milieu. A central métier is Kashyap’s inborn penchant for characterisation, assembling a vestige of stereotypes: the struggling actor, the depressed housewife, the desperate casting director and the embittered police chief, totaling a cesspool of monstrosity and urban depravity. Kashyap is right to take the position that his characters have created their own wretched circumstances and deserve not one shred of sympathy; he wants them to suffer as a way of expressing his own personal scorn. It also seems right that Kashyap made this film after Gangs of Wasseypur, exhibiting range but expressly reiterates a chief genre interest for urban noir that has emerged as a defining visual look. He also seems both enamored and repulsed by the Indian film industry and its systems, a theme that he has dealt with before and that resurfaces in the ridicule faced by the character of the struggling actor. Ugly is a minor work. Maybe it is a film that will stand up to repeat viewings as it certainly harbours a rawness and urgency about it that has been lacking in the past few films Kashyap has made.