How bad can the rumors get? Can they blur the lines between fact and fiction? What is the role of media, the fourth pillar of democracy, in spreading rumours? How often do they propagate a false story to spin the wheel of breaking news? What kind of power does the new age media have? And what is behind the skyrocketing politics of ideas? Veteran director Sudhir Mishra’s latest film ‘Afwa’ deals with one of the most relevant issues of our times – false propaganda and its socio-political ramifications. Needless to say, this hits home, but rather close.
Mishra began his career in 1983 with late filmmaker Kundan Shah’s satirical comedy Jaane Bhi Do Yaaron, which dealt with rampant corruption in Indian politics, news media and business. In 1987, he made his directorial debut with Yeh Woh Manzil Toh Nahi, which touched upon motifs of student activism and political clashes. Over the years, he became synonymous with films that made social and moral commentaries. Rumor is no different and interestingly, her career almost comes a full circle with this social and humanitarian drama.
Rumor is based in a small constituency called Sanwalpur in North-Western India. Vikram Singh, a local politician, aspires to win the next state elections and is set to marry Nivi Singh, the daughter of one of the most influential political members, with whom he has formed an alliance. One day Vikram gets injured while campaigning when a peaceful campaign suddenly turns violent. During the scuffle, he whispers something in the ear of Chandan, one of his trusted aides, whereupon the latter wields a dagger and heads towards a meat shop killing the Muslim butcher who runs it. The whole incident gets captured in the camera of a reporter. When this airs, trouble ensues as people believe Chandan killed the butcher on Vikram’s orders.
Nivi is devastated upon seeing the news. She decides to break off her engagement with him and runs away one night. While on the run, he meets Rahab Ahmed, an ad-man who has returned home after a stint in America. Soon, rumors are spread that it is a case of love jihad in which Rahab has kidnapped Nivi and wants to forcefully marry her. Vikram decides to broadcast a video of Nivi and Rahab’s alleged eloping to save his image and soon, it spreads like wildfire. How a rumour, like a ferocious monster, has the power to tarnish the lives and careers of those who follow the rumour’s cruelty.
The film has a brilliant and extremely subtle premise on paper. It could capture the audience’s imagination, make them sit up and think deeply. It could have been much more. But it is not because the big promises made soon fade away like a damp cracker. While it manages to touch on every aspect of how rumors are often misconstrued as gospel truth and the role that traditional and digital media play in reinforcing the same, The Rumor’s Story can never really touch your heart. does not touch The characters go through the strangest pains but your heart never goes out to them. The interplay of greed, power and ambition is explored in today’s politically charged climate, but it doesn’t lend much to the narrative. The writing is bumpy and the execution has many flaws and there are many questions that are left unanswered.
We are repeatedly told that phone networks are not at their best in the desert, but manufacturers have decided to make the phone and internet work at their convenience. Where in one scene, a doctor tells Rahab that all phone lines are jammed due to the imposition of Section 144, in the next scene, we see Vikram making a call without the slightest hindrance. In another sequence, a dance performance at the Nahargarh Literature Festival is made to stop after a framed criminal tries to sneak inside the palace, but in later scenes, the makers are constantly trying to move from a gruesome scene Intercuts and jump cuts are used. dance performance.
Even a rumor of two hours and six minutes seems too long. The film only picks up towards the second half of the first half and again falls towards the end of the second half. It boasts of a plethora of some incredible actors, but most of them have under-written characters. Nawazuddin Siddiqui as Rahab Ahmed suffers as the character’s graph falls flat. Despite his dazzling talent and new avatar, he does not play with emotions and situations. Unfortunately, Nawazuddin’s signature spark is missing here.
Bhumi Pednekar plays the role of Nivi Singh. Superficially, this is a character with backbone, brains and voice. But we rarely get to see anything like this. Mishra is known for portraying some brilliant female characters in a career spanning four decades. For example Chameli (2004), Hazaaron Khwaishein Aisi (2005), Yeh Saali Zindagi (2011). But Nivi is quite ineffective. It is almost as if she is cut from the same cloth as Dolly Kitty Aur Woh Chamakte Sitare (2020) kitty, Shubh Mangal Zyada Saavdhan (2017) Sugandha and Dum Laga Ke Haisha (2015) Sandhya.
Sumeet Vyas plays the greedy, manipulative and controlling Vikram Singh. His is the only character that stands out. And Sumit does a remarkable job as the anti-hero. It’s a positive jump from her previous outing as an antagonist, Mrs. Undercover (where she played a cold-blooded serial killer). In rumour, he easily steals the show with his subdued charm. Sharib Hashmi as Chandan also delivers an impressive performance.
The rumor may be a realistic tale but ultimately it does justice to the poetic. This is a classic example of a noble, noble and courageous endeavor failing. Its honest and daring themes and narration easily go awry because the written word doesn’t translate to the screen with the same gusto, grit and finesse.
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