Rating:
****
Screenplay:
Debutant
director
Ajay
Bahl
puts
forward
a
little
gem
of
story
which
radiates
the
colours
of
life's
most
grim
and
harsh
reality
in
B.A
Pass.
There
are
so
many
young
dreams
dying
every
day
in
the
metropolises.
To
envision
the
withering
away
of
innocent
aspirations
in
the
merciless
light
of
reality
without
a
shred
of
self-pitying
melodrama
is
not
an
easy
task.
Bahl
does
it
with
great
confidence
and
sensitivity.
Somewhere
towards
the
end
of
the
protagonist
Mukesh's
descent
into
a
self-created
hell,
we
see
him
standing
shamelessly
at
the
roadside
soliciting
sex,
being
picked
up
by
three
drunken
burly
men.
The
director
has
personally
done
the
film's
cinematography
is
such
a
beautiful
circumstance
for
the
film.
One
can
really
wonder
if
another
cameraman
could
capture
those
places
in
these
troubled
characters'
lives
that
Bahl
captures
with
such
force
and
vitality.
Moving
fluently
from
the
tender
to
the
brutal,
Bahl
portrays
the
underbelly
of
Delhi
with
telling
truthfulness.
There
are
no
false
notes
in
this
tale
of
seduction
and
debasement.
What
gripped
me
right
away
were
the
passages
of
screaming
silence.
Story:
A
little
later,
Shadab
Kamal
sobs
in
the
bathroom,
blood
dripping
to
his
feet
in
a
trail
of
tell-tale
brutality.
The
intense
implicit
violence
that
underlines
this
sequence
reminded
me
of
a
similar
process
of
sexual
debasement
undertaken
by
Mark
Wahlberg
in
Paul
Thomas
Anderson's
Boogie
Nights.
That
was
a
film
about
the
porn
industry
in
the
1970s.
B.A.
Pass
is
set
in
present
day
Delhi.
Paharganj,
to
be
more
precise.
Bustling
with
sights,
sounds
and
smells
of
doom
and
despair,
it
is
a
gripping
story
of
a
young
financially-challenged
man's
journey
into
a
world
of
prostitution.
We
could
say,
we
have
never
seen
this
before.
And
we
would
be
as
close
to
the
truth
as
this
film
tries
to
get.
The
taut
screenplay
by
Ritesh
Shah
never
allows
room
for
superfluous
moments.
We
follow
Mukesh's
descent
into
a
life
of
compromised
morality
with
an
absence
of
condemnation
and
censure.
Mukesh's
environment
and
his
circumstances
as
a
displaced
orphan
are
not
exploited
to
generate
pathos.
No
one
in
this
film
allows
us
to
feel
sorry
for
the
derelict
lives.
The
characters
fit
into
the
film's
wretched
karma
with
disturbing
inevitability,
as
though
everyone
we
see
in
this
motion
picture
was
pre-ordained
to
suffer
and
fade
away.
By
the
time
we
arrive
at
the
finishing
line,
we
know
the
protagonist
has
exhausted
all
his
options.
It
is
the
end
of
the
road
for
the
film's
achingly
young
gigolo-protagonist.
Hard
choices
have
to
be
made
at
this
pen-ultimate
juncture.
As
we
watch
the
talented
Shadab
Kamal
lay
bare
his
character's
soul,
we
are
suddenly
reminded
of
how
far
we
have
come
in
his
95-minute
journey
from
innocence
and
anxiety
to
despair
and
doom.
Verdict:
B.A.
Pass
is
a
stark
and
brutal
saga
of
seduction
and
betrayal.
It
is
that
unusual
work
of
cinema
which
explores
the
darkest
depths
of
the
human
consciousness
without
losing
sight
of
the
light
that
underscores
life.
The
film
italicizes
the
character's
askew
lived
by
bathing
them
in
silence.
The
soundtrack
composed
by
Alokananda
Dasgupta,
daughter
of
filmmaker
Buddhadeb
Dasgupta
is
aptly
minimal
austere
and
unsparing.
The
sex
is
suitably
cold
and
detached.
The
seduction
is
swift
and
businesslike;
the
sex,
sometimes
ugly,
never
satisfying.
The
film
is
mostly
populated
by
unlikeable,
loathsome
people
and
yet
in
their
selfish
manoeuvres
the
characters
end
up
being
part
of
a
plot
that
keeps
the
audience
involved
till
the
very
end.
These
are
real
people
living
out
of
authentic
homes
that
exist
beyond
the
director's
domain
of
'action'
and
'cut'.
While
the
supporting
cast
of
unknown
faces
extends
a
hand
of
sturdy
believability,
it
is
the
dynamics
shared
between
Shilpa
Shukla
as
the
housewife
espousing
a
secret
life
of
sexual
indulgence,
and
newcomer
Shadab
as
a
casualty
of
rampant
promiscuousness,
who
provide
a
centre
to
this
melancholic
ode
to
a
life
of
fringe
fatal
benefits.
It
would
be
erroneous
to
treat
this
film
as
only
a
serious
noire
effort.
It
is
that,
yes.
But
it's
also
a
film
that
makes
an
impact
in
unexpectedly
blithe
ways,
creeping
up
into
our
conscience
when
we
least
expect
an
intrusion
and
lodging
itself
cosily
in
a
corner.
IANS