British writer-director Sandhya Suri’s crime drama serves as a compelling allegory on India’s social fabric in certain belts. Shahana Goswami and Sunita Rajwar’s stellar performances do full justice to its moving and layered plot.
Rating: ⭐️⭐️⭐️⭐️ (4 / 5)
An undercover cop travels to an unpopular slum in search of the truth. She eats at a humble food joint. As she bites into her pav (bread) and possibly some keema, an intimidating customer ogles her. If there’s ever a case of “rape with eyes,” the viewer witnesses one here. The woman eventually meets the dreaded man’s gaze and spits her food onto her plate. The man relents, breaking eye contact. It’s never a pleasant sight to watch someone spit out food, but the moment felt like watching a raging Kali Mata. The meat is either an offering, or like the deity, Santosh has tasted blood. However, it’s not the lustful diner; Santosh Saini (Shahana Goswami) is here to apprehend a suspect in the rape and murder of a 15-year-old Dalit girl, Devika Pippal.
The conflict and tragedy feel so desi, but Santosh (2024) is a British film set entirely in India. History reminds us that two other such films went on to win Oscars: Sir Richard Attenborough’s Gandhi (1982) and Danny Boyle’s Slumdog Millionaire (2008). Although both films are set in India, they were shot in English. Here, Santosh differs as it is entirely filmed in Hindi. What’s got on to BAFTA? (British Academy of Film and Television Arts). Although Britain has a sizable desi population, the jury surely isn’t entirely brown. One of the producers is BBC Film. “Oh goodness, if it’s the BBC, then it could likely be another anti-India propaganda,” Indian nationalists would cry. Why just them? Even Munnabhai’s Circuit (Arshad Warsi) mocked tourists for filming poor and hungry people.
Is Santosh another British film that exposes India’s underbelly? The argument might have some merit, but if you don’t want outsiders to show you the mirror, the best riposte is to address your social issues, and there won’t be any underbelly for the videsi to exploit. Given its plotline and socio-religious mix, some may label Santosh as a classic British divide-and-rule ploy. However, this film is written and directed by British Indian filmmaker Sandhya Suri, a British citizen of Indian descent making her feature film debut. Its cast and crew are largely Indian. It speaks an Indian language and addresses Indian social issues.
Like many, Sandhya Suri was disturbed by the Nirbhaya gang rape. The Netflix series Delhi Crime, which was loosely based on this tragedy, moved Suri, who wanted to tell an equally compelling tale of her own. While the crimes in Santosh may resonate with many real tragedies, it is purely a work of fiction. It explores caste-class and ethnic divides, addresses valid concerns over women’s safety and gender bias in certain areas, but Suri is wise enough not to generalize. She subtly draws our attention to the conflicting narratives within this milieu. The first matter involves cheating in a relationship, where a college student complains about her unfaithful boyfriend. The local cops quickly gauge the truth, and justice seems imminent as newly recruited constable Santosh catches the girl slapping the boy multiple times in the presence of a male cop.
Unfortunately, the Devikas and their families are too meek to raise their voices against their oppressors. Sadly, in a society where their water is deliberately contaminated, can such poor people really hope to achieve any justice?
In a crucial scene later, Santosh’s senior Geeta Sharma (Sunita Rajwar), reveals the bitter truth: “Is desh mein, do prakaar ke acchut hai, ek jinhe koi nahi choona chahta, aur dusre woh jinhe koi chu nahi sakta” (In this country, there are two types of untouchables: one that nobody wants to touch, and then there are those who cannot be touched). How beautifully has Suri summed up the entire conflict in this world.
Beneath the grave issues, Santosh also addresses the trials and tribulations of a young widow in a small town. Labeled a dayan (witch) by her in-laws, Santosh is unaware that, in the event of a spouse dying while on duty, she is eligible to inherit his job as a cop. The poor cop died during rioting in the communally sensitive area of Nehrat. The gender bias is only part of a larger systemic malaise that may be more chronic in small-town, rural India. For a British citizen, Suri demonstrates a fair understanding of India’s social fabric in certain areas. She cleverly uses fictitious names, but the tone and milieu are enough to indicate that this film covers different parts of North India.
Shahana Goswami is an actor who deeply emotes even when still. The death of her husband just two years after their marriage has left Santosh shocked. She carries that expression early in her journey as Constable Santosh. The Saini name carries a certain stigma, and coupled with the attitude towards a widow, Santosh often looks lost in her inherited professional career. “Come on, lady, show some mettle and fight,” a viewer from Mumbai might chide. But in Santosh’s world, she must look around before taking a breath. The viewer cheers when she breaks into a grin for the first time. A ‘Romeo’ holds her hand, pleading with Santosh not to tell his family about his public display of affection. He seems to care little about her and her family. Santosh is naturally uncomfortable with the man holding her hand. She pulls away and is stunned to find a crumpled 500-rupee note. A female colleague observes this from a few yards away, and Santosh breaks into a grin. Is that how honest cops feel when they are inadvertently bribed? Many would pay millions just to see Shahana Goswami flash her dimples. Sadly, though, that grin and the 500 rupees disappear by the very same evening. Goswami’s virtuoso effort in this frail yet morally upright character goes a long way in binding the viewer to the world of Santosh.
In her own words, Sunita Rajwar is adored for her loud characters in TV and web series. She was surprised when Sandhya Suri chose her to play Geeta Sharma. The acclaimed actor steps out of her comfort zone to brilliantly portray this authoritative and sophisticated character. Initially dismissive of Santosh, Geeta Sharma is pleasantly surprised by the grit and determination of her subordinate. There is also a subtle queer hint in this professional dynamic, but Suri wisely refrains from pushing the envelope. Suri’s entire cast is devoid of star names, but each and every artist is a fine choice.
With virtually a non-existent background score, such crime dramas often run the risk of being falsely labelled as slow burns. However, the intensity of the narrative, Suri’s actors, and even their silence create a gripping atmosphere. Amidst the grim plot, Suri also cleverly weaves in a touch of organic humour. Maxime Pozzi-Garcia’s fine editing and Lennert Hillege’s brilliant cinematography elevate the overall viewing experience.
Santosh scores high on creativity; perhaps the only blip is how a crime scene wasn’t cleaned up, with alcohol bottles still lying around even weeks after the crime. The crimes depicted in Santosh are a sad reality in this society, but the film also compels us to reflect on how we react to conflict and not be swayed by stereotypes. The bad eggs among the privileged need to be brought to justice, but the underprivileged and oppressed also require a certain change in attitudes when a noble soul like soul Santosh comes with good intentions. The collaboration of Sandhya, Shahana, Sunita for Santosh and the reflection of our society leave you sad yet santusht (satisfied).
Santosh (2024) premiered in India at the ongoing MAMI Film Festival.
