Human life is either priceless or worthless, depending on where and to whom it is born. This is the unpleasant truth that Mardaani 3 try. Of course, there are other systemic issues that it struggles with through its righteous cop protagonist, Shivani Shivaji Roy. Attack the rot that is the begging mafia and the role of the police in promoting it. He even comments on capitalism. Yes, it bites off a little more than it can chew. But just a little, not enough to cause indigestion. But also enough to mitigate its impact.
That it raises a philosophical question, even in passing, is an advantage.
Mardaani 3 revolves around the kidnapping of two girls aged 8 to 10. We quickly discover that they are sold to a feared group. They keep us in the lurch about what is going to happen to the girls. The wait is brutal. Always fearing how much worse reality must be. However, the wait for the real deal is so long and disconcerting that it slightly dulls the villain’s disgusting and despicable purpose. Curiously, it’s not what we expected. And yet, despite its cruelty and unpredictability, the blow is gentler than anticipated.
Interestingly, it’s not the acting or the scene-by-scene or subplot-by-subplot writing that’s to blame. Rani Mukerji has matured as Shivani has taken ownership of her space. Mallika Prasad instills fear much like her predecessors in the Mardaani series, but it becomes over-the-top and a bit unbelievable as her character’s weaknesses are exposed. I’ll leave the rest of the cast out to avoid giving away spoilers. But, despite the twists, none of them leave a mark. I doubt we’ll remember them in episode 4.
Plus, some of the situations and their flow keep you involved and sometimes even on the edge of your seats. This is despite loopholes like smart people who are in the business because they can’t be traced and don’t realize they are being followed. Otherwise vigilant people, on both sides, who suddenly trust other people. Etc. However, the other things in the film are gripping enough to make you set aside these objections.
The problem is that the overall story loses steam after the biggest reveal. Not to mention that the characters become less and less believable. I feel like the filmmakers knew this, which is why it comes so late in the film. They want you to continue imagining the grotesque things that happen in this type of business. Unfortunately, it goes against the plot.
Furthermore, the excessive dramatization of some scenes is jarring. So, Shivani’s know-it-all behavior at the beginning calms down as the film progresses. Generally speaking, though, I’d prefer a well-made film about a serious social issue to none at all. That he does it without starting to sing and dance is treating me with respect. That it serves as a break from the war movies on the circuit is a welcome relief. That it raises a philosophical question, even in passing, is an advantage.
The issue of human life as collateral damage for a better cause is debatable for some and absolutely preposterous for others. It is human life; any damage is damage enough. Instead, if “sacrificing” a few does the greater good, then that’s fine. This last proposition is easy to prove by putting the believer’s loved ones at stake, among the few who will be sacrificed. However, Mardaani 3 presents his own version of car problem. But we know his position from the beginning. Therefore, there is no room for the public to reflect on their opinion.
Despite its cruelty and unpredictability, the blow is gentler than anticipated.
Which also means that the pacing of the big reveals is a question mark. One comes too early and the other too late. If you would allow me to think a little about this film, and even this series, which puts its whole heart into trying to make meaningful cinema, I would feel a little more involved. That I felt my heart pounding at the beginning of the movie and not so much towards the climax is also a sign. But considering the movies made these days, having my heart pounding means the movie did a lot of good. And that’s enough. That this topic is attracting attention, even in movies, is better than nothing.
– Meeta, a part of the audience.
