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Shivani Shivaji Roy has returned. The spunky, courageous policewoman has swapped locations in this sequel to the 2014 film, from Mumbai to Kota, but nothing else has changed: she is still straight-arrow, fearless, standing up, and being counted.
Her adversary this time is a 21-year-old young guy with a baby face and hazel eyes. That’s not true. Sunny (Jethwa) is more monster than human, and he has no intention of hiding it: he causes havoc everywhere he goes, leaving a trail of hideously abused and scarred female corpses in his wake.
Mardaani 2 reintroduces Rani Mukerji to the cinema after a long absence, and she takes the lead, as one would expect from a Yash Raj film. There are no surprises here. The ‘villain’ is a fresh face, fashioned as a crazed, unbalanced individual who delights in each horrible act of rape and murder, which is a brilliant decision.
Mardaani 2 | Official Trailer | Rani Mukerji | Vishal Jethwa | Gopi Puthran
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Mukerji is unmistakably the protagonist. The men in her life, including a subordinate who slanders her, a few devoted juniors, and a senior who alternately supports and scolds her, all follow a predictable pattern.
Mukerji is a recognizable figure even as she dominates the screen, and she is in charge throughout as she works to a screenplay that always pushes her to the fore.
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Jethwa portrays a smooth-faced rap artist with a smug attitude that works for the most part. He falters when he goes overboard (and there are a few instances when you can see him lowering his guard).
As does the film, which alternates between portraying a Hollywood bad guy and a desi villain, as well as including more than one eye-roll-inducing plot device to heighten the tension.
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The second issue, which is considerably more visible, is the hammering-it-in approach to descriptions of’mard’ and ‘aurat.’ The tone is abrasive, and the aurat-jaat runs down in a variety of ways.
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The climactic comeuppance of the bad guy, which you know will happen right from the first frame, comes right at the end, by which time there has been gory, bloody violence visited upon a bunch of women, which is problematic for a film with a strong feminist stance and claims to wave a banner for women and their rights.
Shivani Shivaji Roy is situated as a crucial protagonist on the cusp of a new decade. More strong female protagonists are needed in contemporary films, but they do not have to be surrounded by sexism and offensive rhetoric.
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Why, in this day and age, does a film have to be so self-aware? Why can’t we trust some of the supporting characters, even men? Why do we have to recreate the wheel every time?
Is it because the filmmakers don’t trust the audience, or do they realize that only after they’ve been brutalized for practically the whole film can they stomach a redemptive narrative for women? That they only get to retaliate after suffering so much?
Our mardana, of course, has the finest line in the video, when she speaks about hissa, participation, and equality for women. Mukerji tells it like it is, and you want to congratulate her for it, even though it is a conversation written just for her.