Though initially promising, writer Parveez Shaikh and director Sudhanshu Saria’s spy thriller veers into familiar, dull territory. Jahnvi Kapoor and Gulshan Devaiah try hard, but it’s not enough to uplift this not-so-ulajh drama.
Rating: ⭐️💫 ( 1.5 / 5)
By Mayur Lookhar
Diplomacy is the art of letting someone have your way. – David Frost.
A Nepalese minister proves a difficult nut to crack. High-ranking Indian diplomats fail to get him to toe the Indian line. Initially told to stay in the background, Suhana Bhatia (Jahnvi Kapoor) senses an opportunity. She discreetly reveals incriminating photos of the minister’s kin. The shocked man refuses to believe, but Suhana politely tells him there is more. The minister relents and acts in a way that serves both Nepal’s and India’s interests.
Moments later, the senior diplomat questions Suhana, “Did you just blackmail the Nepalese minister?” The young woman simply smiles and reminds her senior that, in the end, they achieved the result they desired. David Frost would be proud of Suhana.
India has demonstrated that it has wise young talent capable of conveying its point with dignity on global platforms. Although fictional, the initial impression of Suhana is very positive. It is no surprise that such a young woman is appointed Deputy High Commissioner at the Indian High Commission in London.
Suhana not only possesses talent but also carries the Bhatia surname, a family renowned for its patriotism. Her father (played by Adil Hussain) is chosen as India’s representative to the United Nations, and her grandfather was a high-ranking diplomat. Suhana is determined to uphold the family legacy, staying true to her values and dignity while never betraying her nation.
For someone initially perceived as resolute and infallible, Suhana surprisingly falters on her first night in London. Despite her desi chauffeur Salim’s (Rajesh Tailang) warnings, Suhana ignores his advice and spends the night with Nakul (Gulshan Devaiah), a man she met only a few hours earlier and who captivated her with his wit and charm. The next morning, she discovers it was a sinister trap. From being India’s bright young diplomat, Suhana is now reduced to a puppet.
Although Ulajh (2024) is fiction, tales of diplomats spying for the enemy reflect a harsh reality in a materialistic world. The story recalls the case of Madhuri Gupta, a former Indian diplomat who was convicted in 2019 for spying for Pakistan’s Inter-Services Intelligence while serving in the Indian High Commission in Islamabad.
Ulajh though is a spy thriller where the protagonist is the one being spied upon. Director Sudhanshu Saria and writer Parveez Shaikh appear to have a novel story up their sleeves but eventually veer into predictable territory, evoking a sense of déjà vu.
It’s remarkable how Bollywood maintains its misplaced sense of Indo-Pak politics, devoid of rationale and disconnected from ground reality. In the past month alone, India has lost 12 soldiers to Pakistan-backed terror attacks in Jammu & Kashmir. In such an environment, who would be drawn to a film like Ulajh, where the Prime Minister of a hostile nation is welcomed with open arms in India? While this may be dismissed as Left-liberal fantasy, Ulajh portrays elements that could displease Indian diplomacy and contradict current realities. The internal threat should never be discounted, but who in India would benefit from blocking the extradition of a wanted terrorist? Is Ulajh suggesting that the terrorists who fled India decades ago were given safe passage by vested interests?
From a promising spy thriller, Ulajh shifts the goal posts, irking both patriots and the diplomatic community. Inevitably, director Saria and his writers Shaikh Atika Chohan (dialogues) lose their grip on the narrative.
The Ulajh story relies on trickery, but the most fascinating aspect is the protagonist’s characterization and its clear resonance with Jahnvi Kapoor. As the daughter of Sridevi and Boney Kapoor, Jahnvi is always under scrutiny. One can’t help but wonder whether this privilege was an organic part of the Ulajh plot or influenced by the cast. Only Saria and his writers can explain.
Jahnvi can naturally relate to Suhana Bhatia, but if the leading actor and the protagonist have something to prove, do we really have a film? If Suhana’s incompetence is overlooked as part of a sinister plan by vested interests, then by that measure, is Jahnvi entirely blameless for previous failings?
Having impressed us earlier, Suhana now flatters to deceive. If Suhana noticed that the polyglot Nakul’s pronunciation of “éclair” sounded like Canadian-French, why did she later buy into his lies about his identity? Despite the script’s shortcomings, Jahnvi once again proves that she is an earnest performer. Even as the wheels come off, Jahnvi doesn’t drop her intensity.
Gulshan Devaiah proves to be a mercurial artist. A polyglot character comes with its linguistic challenges, but Devaiah seems up to the task. From chivalry to connivery, Devaiah revels in the different shades of his role.
Roshan Mathew has been making gradual strides in Hindi cinema. Initially, his character, Sebin Josephkutty, appears to be an envious colleague. Later, Sebin realizes he is caught in a larger trap. Mathew’s skirmishes with Suhana lighten the tense atmosphere. Saria’s leading actors perform reasonably well but are let down by a failing script.
The London setting has natural appeal, and director Saria and his technical team effectively explore the city’s tunnels and deserted locales. Jahnvi Kapoor’s first morning in London, walking from her room to the balcony as the sun gently reveals itself, is a captivating shot. With a sizable action shot indoors, Saria’s designers Alessandra De Palma and Sankalpa Ranade provide an apt setting. However, the playback music feels unnecessary and its poor quality adds to viewer frustration. It pales in comparison to the dull screenplay and average direction. The title Ulajh proves to be a misnomer, as the plot is fairly predictable. Besides, self-inflicted uljhan (trouble) rarely evokes sympathy.
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