Vidya Balan and Shefali Shah keep the film boiling

Cast: Vidya Balan, Shefali Shah, Manav Kaul

Director: Suresh Triveni

Rating: Three stars

Director and screenwriter Suresh Triveni has tackled a full range of topics Jalsa. It would be too much except for the proven abilities of Vidya Balan — the main actor in Tumhari Sulu’s first film in Triveni — and Shefali Shah’s proven abilities. Both combine perfectly to get the chestnuts out of the fire. If some effort is shown, it is only because the material called for the pair to work is too thin.

JalsaAn original Amazon movie, it’s great, but it’s certainly not useless. The drama of self-preservation against morality is played by Balan in the role of the Maya Menon newscast, which boasts of its integrity and courage. Shah plays Ruksana, a maid who cooks for the journalist and takes care of the latter’s special-needs son Ayush (Surya Kasibhatla, a ten-year-old child actor with cerebral palsy and one of the highlights of the film).

The film begins with a young couple of lovers on a two-wheeled ride. The night ends tragically. Returning from work in the wee hours of the morning, a weary Maya strikes a teenage girl and runs away at speed, not what a responsible and “so ethical” journalist would expect her to do.

It turns out that Maya is the only girl left in a pool of blood by Ruksana. Maya decides not to reveal the secret to her cook, although the latter remains a part of the household and a pillar of support for Ayush and Maya’s mother (Rohini Hattangady).

Ruksana’s daughter Alia (Kashish Rizwan) is in a hospital fighting for her life, Mayak takes the confidence of her leader Amar Malhotra (Mohammad Iqbal Khan). He advises you to leave until the storms strike. But an enthusiastic internship journalist will come, Rohini (Vidhatri Bandi), and he wants to reveal the cover.

The ensuing chain of events tends to distract from the drama of two women on both sides of the break fighting with conflicting emotions and serious moral issues. One must consider guilt and confusion, the other grief and helplessness.

Vidya Balan and Shefali Shah give all their roles, which keeps the film from boiling, despite the dodgy detours it makes. The exploration of the truth and how one dies on the altar of one’s own interests and the power of money does not get the attention it deserves. Jalsa’s approach is purely didactic, but the film puts human gaps under the scanner and articulates some meaningful points.

The film is overcrowded in its two hours. The screenplay by Prajwal Chandrashekhar and Suresh Triveni touches on a wide range of topics: morality, journalistic ethics, police corruption, class division, the challenges of being a single mother, the struggle to balance work and life and the dynamics of privileges.

Some of the buttons that the movie plays are not pressed or pressed. As a result, there is a noticeable and frequent dilution of the film’s main intent, which is that the abyss between Maya and Ruksana is widening due to the inability to clean up the former.

On the plus side, director Triveni deserves praise for not succumbing to the apparent appeal of drama. Yes, Maya Menon’s character suffers a couple of disasters, especially when she’s around Ruksana, but being very aware of where the actor has to draw the line, the scenes remain sharply on the emotional level of the film.

Of particular note is the climax, which is based on a crisis triggered by a naive act. It takes on painful proportions considering what happened between the journalist and his maid and the latter’s strong bond with the boy of different abilities under his care. Holding on to the control that the film traverses, the final moments, along with real emotion and beauty, are provided with moderation and great efficiency.

Hindi films in front of women probably don’t provide immediate news because they are not as rare as before. However, it cannot be taken for granted that Jalsa not only puts two women at the heart of the argument, but also writes other significant female roles in the film. Maya’s mother – Rohini Hattangady takes advantage of the limited time on screen – unquestionably records her presence and serves as a voice of prudence, even if she threatens to run away from the subject.

In addition, the young journalist who poses a threat to Maya with her youthful seriousness (played incredibly well by Vidhatri Bandi) is given a decent place in the story. It highlights a news-gathering dimension that sheds light on how the truth business operates in a highly competitive and adaptable environment, and highlights the struggles of those who need to move away from their distant homelands in search of work in large countries. cities.

For cinematographer Saurabh Goswami, Jalsa has two separate spaces for exploring. On the one hand, there are the well-ordered and bright surroundings of Maya Menon’s office and home and the bright lights of Mumbai. On the other hand, the street views and the dark crevices of the city, as well as the mixed middle class and unspoiled houses that serve the city’s middle class and elite.

Generally, Jalsa it has important issues to say and analyze. Another point is that in this process, it is somewhat overloaded with non-organic issues.

Discount the decline and a mistake here and a mistake there and Jalsa works well, not only because the two wonderful actors are in the best – one compared to the disgusting one, Shefali Shah has the race ahead of her nose – but also the film’s own plot despite its sharp and moving nature, it favors a style of storytelling that firmly rejects rigor and persists in it.

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