Jigra

Vasan Bala creates worlds that may appear deceptively similar to the ones you and I inhabit but run entirely on their own terms and whimsy. It’s a part of the film-maker’s charm and cinephile influences, which made the likes of Mard Ko Dard Nahi Hota and Monica O My Darling such a treat. Jigra, probably his most big-ticket project so far, is also his most sombre.

Most directors make you feel like you’re watching their film — their technical prowess, their intent, their voice, their commercial and arthouse ambitions. But directors like Vasan Bala make you feel like you’re watching their dreams come true. His movies aren’t shown, they’re shared. His craft isn’t flaunted, it’s realised. In Jigra, there are no shots, only fulfilled aspirations. There are no scenes and set pieces, only childhood memories. There is no action, only the physicality of emotion. There is no story, only the narrativisation of storytelling.

Perhaps Karan Johar, Alia Bhatt and director Vasan Bala, who co-writes with Debashish Irengbam, hope that nobody remembers Gumrah (1993), the Sanjay Dutt-Sridevi starrer which Mahesh Bhatt directed for Dharma Productions’ founder Yash Johar. In 1993, it was a besotted Sanjay Dutt who’d helped Sridevi break out of a Bangkok prison where she faced a death sentence after being framed by her boyfriend for drug trafficking. Bhatt had helped himself to the theme from the 1989 TV series Bangkok Hilton where an estranged father helps his daughter break out of a Bangkok prison in similar circumstances as Sridevi in Gumrah.

Early on in the 1 hour 55 minutes film, a character asks Satya, ‘Toh kya Bachchan bananna hai?’ The question is meant as both set-up and punch-line. Her reply, ‘Ab toh Bachchan hi bananna hai’, sets us up for the entire premise-cum-gist-raison d’etre of ‘Jigra’, in which Alia Bhatt’s Satya attempts to become a Bachchanesque hero, kicking and punching, hurt and hurting, falling down and getting up. And staying up.