This Adah-starrer is a tale of performative inconsistencies

Direction:

Directed by Sudipto Sen, Bastar ventures into the contentious landscape of Naxalism, weaving a narrative that attempts to dissect its roots and consequences, albeit through a largely black-andwhite lens. Sidestepping nuanced character exploration and succumbing to occasional oversimplification, the film falls short of its full potential, leaving audiences with lingering questions and a sense of untapped narrative depth.

It navigates through the divergent paths taken by a mother and son, played by Indira Tiwari and Naman Jain, in the aftermath of a shared personal tragedy, and the resolute mission of a police officer, Neerja Madhvan, played by Adah Sharma, to purge the heartland of India from the Naxal insurgency.

While Madhvan’s motivations are not explicitly explained, her unwavering patriotism is evident. In her quest, she doesn’t hesitate to use force, even being accused of involvement in staged encounters. These accusations, however, are dismissed, as the director aims to portray the cop’s actions as serving the greater good, leaving the character uninspiring, unrelatable and eerily onedimensional.

In a parallel narrative, Bastar would have introduced a poignant subplot revolving around a mother and son, grappling with the aftermath of Naxal violence. The mother joins the police force, while the son joins the Naxalites out of a lack of interest in education. However, the dynamics between them and the reasons for their choices remain largely unexplored, leaving viewers pondering whether this storyline would have made the movie more relatable and empathetic than the current version.

The film presents a stark contrast between the Naxalites, depicted as ruthless and inhumane, and the Indian security forces, particularly the police and CRPF, portrayed as tirelessly combating these anti-India elements. While this portrayal may reflect certain realities, the film’s failure to delve into the underlying reasons, instead attributing everything to communism via Yashpal Sharma’s character, a well-intentioned lawyer, offers a glimpse into the ideological underpinnings of Naxalism. The director’s refusal to delve deeper into these complexities may explain criticisms on social media accusing the movie of promoting propaganda.

Adah’s performance feels somewhat out of place in the film, not due to her character’s weakness, but because she appears inadequately trained for the role. Her action sequences, including running and shooting, lack the finesse expected of a seasoned cop. On the other hand, Indira and Naman deliver compelling portrayals as the the perennial victims. However, their appearances are fleeting. This oversight deprives the film of a more empathetic and relatable dimension, relegating these characters to mere conduits for thematic exploration rather than fully realised individual.

While Bastar’s patriotic fervour and commitment to highlighting the sacrifices of those caught in the crossfire are commendable, its reluctance to confront the shades of grey within the narrative leaves it feeling somewhat incomplete.

The movie, in simple terms, deals with the notion that Naxalism stems from communism. For those familiar with this concept, it serves as a stark reminder of how the American government, during the early years of Cold War, once targeted individuals who aligned with this ideology, resulting in societal ostracism and much more. However, Bastar’s narrative shortcomings and performative inconsistencies detract from its overall impact.