Drohkaal

Drohkaal is a powerful piece of Indian cinema released in 1994, directed by Govind Nihalani, featuring two of the country’s most renowned actors, Om Puri and Naseeruddin Shah, alongside Mita Vashisht in the lead roles. Grossly underrated despite its exceptional narrative and performances, this film presents a stark commentary on terrorism and a relentless war waged by law enforcement against the invisible enemy within society.

The film opens with a uniquely raw and heartfelt portrayal of the intricacies involved in battling forces of terrorist insurgency. Delving deep into the contradictions of violence, ideologies and the grim realities of a nation in struggle, the makers pull no punches in depicting realities often sanitised in mainstream cinema.

Om Puri gives a captivating performance as Commander Bhadra, an efficient and fearless police officer leading a special task force against terrorist activities, with an urgent desire to maintain law and order. Naseeruddin Shah, as Singhania, delivers an equally challenging role of an undercover agent embedded deep within the terrorist outfit. Their respective characters are not romanticised, but must grapple with the harsh reality of their decisions and actions, which paint a comprehensive picture of the compromising situations facing those confronting terror.

Mita Vashisht too doesn’t lag behind in her powerful portrayal of Sumitra, a puppet master who manipulates both sides of the law, emphasising the hazy line separating the good from the bad. Her performance adds an intriguing dimension to the movie, encapsulating the depths and changes that her character experiences.

One does not get the typical Bollywood fare with Drohkaal. Instead, it is a deeply layered, intense and intricate drama that unfolds in the murky grey zones of counterterrorism operations. The conflict is not simply between the so-called ‘good’ and the ‘bad’, but instead resides within the characters themselves, as they grapple to understand the meaning behind their actions and their inherent repercussions of becoming a part of the-cycle of violence.

Drohkaal is certainly not merely a film about terrorism, but rather a philosophical exploration into the very nature of violence, ideology, secrecy and the state's reaction to it. Despite being a classic in its own right, the film is also a social commentary that echoes the feud between the state and its nonconformists. It talks about indoctrination, brainwashing, and how individuals are pulled towards extremism.

The characters are also depicted to face deep, incessant turmoil within themselves. The film does an excellent job of expressing the emotional, psychological and physical hardships faced by those on the frontline. These multi-dimensional characters are authentically represented and exude genuine human emotions like fear, uncertainty, resentment, desperation and a glimmer of hope, that are rarely found in run-of-the-mill feature films.

Govind Nihalani uses his mastery in cinematography and storytelling to bring out the intensity of the situation and the narrative. The movie seeps with an ominous undertone and suspense that keeps you absorbed. The intelligent screenplay, impressive characterisation, and deliberate pacing, intensifies the menacing atmosphere which pervades the narrative, thus making Drohkaal a deeply insightful and thought-provoking cinema.

To sum up, Drohkaal is a gripping and nuanced exploration of the human condition under extreme circumstances. Offering a realistic portrayal of terrorism and counter-terrorism, the movie presents a grim state of a world in chaos through a blend of artistic storytelling and superbly crafted characters. Actors like Om Puri, Naseeruddin Shah, and Mita Vashisht have magnificently brought their characters to life, contributing to the harsh and stark realism that the film aims to portray. This is no champagne Bollywood fluff, but hard-hitting, intense cinema that forces us to see the world through an unfiltered lens.