An online film journal for Indian Cinema
Director Sriram Raghavan fourth directorial feature Badlapur opens with a brave bit of tableaux cinema. We can’t quite figure out where to look; the frame is wide open with the camera observing at a distance everyday street life, all in a single take. A bank robbery and the violent getaway disrupts the ordinariness of the moment creating an urban tension that is never fully resolved but intrinsic to the thriller form. Badlapur is less neo noir and more urban thriller. Although one could argue the two are indistinguishable in many ways, what categorises Badlapur as a thriller is the way melodrama is constantly rising to the surface. Having said that Badlapur does still have numerous noir traits but it seems to have more in common with South Korean revenge thrillers like Oldboy and A Bittersweet Life than American film noir. Raghavan really knows his cinema as testified by his previous work and is more adept at working in such intertexts with a playfulness that doesn’t jar or feel too obvious in its mode of address. Particularly interesting is a capacity to reference an eclectic mix of pop culture; he begins by thanking Don Siegel and later acknowledging Daphne Du Maurier’s novel Don’t Look Now. Arguably Badlapur has more going on than simply labelling it a revenge thriller but the emotional thrust of Raghu’s (Varun Dhawan is inconsistently good) revenge mission is underdeveloped and the flashbacks (too few) to happier times with his wife and son are simply crass and unconvincing. Subsequently, Raghu’s thirst for revenge is contrived, lacking the necessary sense of indignation and violation often characterising classical revenge narratives. The songs are also dispensable, bolted onto as an afterthought.
Badlapur is a deeply nihilistic film though and Raghavan does succeed in getting across the way revenge creates a cloud of moral ambiguity but isn’t that a little simplistic? That revenge consumes even itself until nothing remains. Nawazuddin shines though as Liak in a delightfully comical role as a low life criminal who breezes through the film uttering the best lines and creating the film’s most rounded, involving and empathetic character. In a strange sort of way, this is a film about anti-heroes so returns to my early objection that Badlapur isn’t strictly noir. Perhaps it is then noir but only in its downbeat ending. Overall, this is still an efficient genre piece that shows Raghavan has a knack for pulling good performances out of average mainstream Hindi actors. It’s just not as brilliant as Johnny Gaddar which still remains Raghavan’s best film to date. Part of me would have loved to have seen what kind of film Badlapur could have been if Raghavan had replicated the tableaux style throughout, offering a Haneke like exercise in mainstream cinema (I’m thinking of how Cache works as a terrifying edge of your seat thriller). However, considering the categorical failure of Agent Vinod, Badlapur is a step back in the right direction for this promising young genre auteur.