It’s already established that Article 15 is an important, progressive and powerful film. But the perspective that this film is uncomfortable to watch bothers me. In my opinion, this is not an uncomfortable film for a socially aware individual. We are not really unaware of the kind of events shown in the film. We’ve come across them as headlines in newspapers and articles on social media pages, perhaps on a daily basis. And that is what it is for a large section of our country, a recurring reality.
So why is it deemed a disturbing experience on-screen? Because the film reverberates our knowledge about such incidents into visual images that are hard to get past, the film makes you intimate with the people who appear in those headlines; and mainly because it holds a mirror at you. Yes a mirror because most of us consider ourselves above casteism because we don’t engage in it; but what we fail to realize is we are very much a part of the complacency around such discrimination since we are also a fragment of this system that normalizes such social divides. Ayan Ranjan, the lead protagonist of the film played by Ayushmann Khurrana is our representative, the educated, idealistic urban citizen; and just like he’s pulled out of his comfort zone, so are we with him.
One of the key elements of Article 15 is the camera work by Ewan Mulligan. It goes beyond the usual beautiful images and consumes the tension in the air into the frames, provides various allegories to the central plot. Another attention worthy aspect is editing by Yasha Ramchandani which renders us with a gripping piece of art. Not a moment is wasted; film is packed but never overriding or crowding. Despite the multiple incidents and information consolidated into the two hours twenty minutes run-time, the film never loses the crisp format.
Article 15 plays to the strengths of a conventional pot-boiler movie while being a serious niche film. The film goes off to make a hero out of Ayan, he’s the savior who’ll fight corrupt systems and “unmess” things. In a way the film employs the masala movie format that caters to the crowd interest by assessing their reactions to scenes beforehand and setting the tonality accordingly. Slow motion walks and other heroic tropes find its place without the story or film-making losing its essence. Anubhav Sinha touches upon a subject not many dare to address in all bluntness but does so by slightly maneuvering the film to incite a few cheering here and there. But never does it stick out or become a minus point for the film. Instead it’ll appeal to a larger audience and result in wider awareness and maybe effect a minuscule of change. In a way, Sinha proves to be a smart filmmaker with Article 15.
That said, I’d like to read the heroism of Ayan in a different light. Ayan is essentially the representative of an educated citizen of India who has some props up his sleeve. So when Ayan gets the heroism kicking, it can also be read as an individual using his education, his position, in short his power in whatever capacity to impact a change. It can possibly be Sinha’s bigger picture.
The highlight of the film is a pack of terrific performers who enliven their roles to glory. Ayushmann does take time to fully immerse himself into Ayan Ranjan and might not be able to top his Akash from Andhadhun, but does convincingly convey the ignorance, complacency, fear, anger and empathy of Mr. Ranjan effectively. Manoj Pahwa as the layered Brahmdutt is poignant to the narrative. Kumud Mishra as Jatav is subtle and offers some of the light moments of the film and is a must watch out performance. Mohammed Zeeeshan Ayyub is impactful and conveys layers to his character in the few minutes he’s on screen. Sayani Gupta and Isha Talwar are fiery women whose individuality shines through despite their screen time. Ashish Verma and Sushil Pandey get notice. One thing I found alluring is how the grey shade is explored in literally every character. They have their moments irrespective of the ratio.
Gaurav Solanki and Anubhav Sinha take the film a notch higher with catchy dialogues and well etched screenplay. In one scene where Ayan inquires the caste of his subordinates, we realize the normalization is deep rooted and the complacency around caste discrimination is the scary moments of the film, than the scenes of violence.
One argument against the narrative is the protagonist Ayan Ranjan being a Brahmin, thereby the story offering Dalit community a Brahmin savior instead of fighting their battle on own without such upper class crutches. But why do we need to address Ayan’s caste when he’s communicating a change? Maybe this is what Sinha wants to say; look at Ayan as an individual, as a citizen, a police officer, not by his caste. And if at the end of the film, we’re worried about his cast than him actually using his position to do the right thing, breaking off his idealism and complacency then maybe more films like Article 15 is still needed.
“I don’t want a hero, but I also don’t want people who wait for a hero” – a very impacting line from the trailer of the film. Apart from its central theme, this line drew me to the cinema halls. And trust me when I say I’m not disappointed. And it seems like it has become a habit for me to watch films that end with resounding applause in the theaters. Article 15 is undoubtedly the latest addition to that list.
Adhiti's Musings & Books 