Director:
Meghna
Gulzar
Cast:
Irrfan
Khan,
Konkona
Sen
Sharma,
Neeraj
Kabi,
Tabu,
Sohum
Shah,
Atul
Kumar,
Gajraj
Rao
By
Saibal
Chatterjee
It
is
nearly
two
years
since
the
parents
of
Aarushi
Talwar
were
convicted
for
her
murder,
but
many
facets
of
the
sensational
case
still
remain
trapped
in
the
realms
of
wild
conjecture.
Meghna
Gulzar's
Talvar
sets
out
to
put
those
unanswered
questions
back
in
the
public
domain.
It
does
a
very
good
job
of
it.
To
begin
with,
the
director,
making
a
comeback
after
a
long
hiatus,
does
not
baulk
at
the
sensitive
nature
of
the
subject.
She
treats
the
complex
themes
inherent
in
the
tale
with
mellow
confidence
and
an
unwavering
sense
of
balance.
Talvar
delves
into
the
unresolved
issues
pertaining
to
the
2008
Noida
double
murder
case
in
the
light
of
details
drawn
from
research
and
the
court
proceedings.
Working
with
a
marvellous
screenplay
by
the
film's
co-producer
and
music
composer
Vishal
Bhardwaj,
the
director
delivers
a
low-key
but
hugely
effective
drama
that
works
at
several
levels.
Talvar
is
an
impressive
achievement
as
much
for
its
consistent
restraint
as
for
the
riveting
quality
of
the
narrative.
The
film
is
much
more
than
just
a
tale
of
a
real-life
murder
most
foul.
With
deft
and
insightful
touches,
the
director
etches
out
a
social
portrait
aimed
at
articulating
truths
about
the
kind
of
society
we
live
in.
The
film
turns
the
spotlight
both
on
the
circumstances
surrounding
the
actual
crime
as
well
as
on
the
three
separate
investigations
that
were
conducted
in
the
case.
Talvar
goes
well
beyond
the
scope
of
a
crime
drama
to
proffer
a
sharp
examination
of
the
many
divides
and
prejudices
that
define
a
rapidly
changing
urban
India.
The
gallery
of
characters
is
made
up
primarily
of
the
parents
(Neeraj
Kabi
and
Konkona
Sensharma),
the
principal
investigating
officer
(Irrfan
Khan),
his
assistant
(Sohum
Shah)
and
a
bunch
of
incompetent,
insensitive
Noida
policemen.
The
clash
of
cultures
is
most
stark
in
the
exchanges
between
the
accused
and
the
Uttar
Pradesh
policemen
entrusted
with
the
initial
crime
scene
investigation.
The
Tandons
–
that
is
the
name
given
in
the
film
to
the
Talwars
–
are
an
upper-crust
family
exposed
to
social
mores
that
the
cops
can
barely
grasp,
let
alone
sympathise
with.
Talvar
–
the
title
refers
to
the
rarely
used
and
rusting
sword
in
the
right
hand
of
the
Lady
of
Justice
–
also
places
the
electronic
media
in
the
dock
for
its
unseemly
overreach
in
its
reportage
of
the
double
murder.
The
film
probes
the
internal
dynamics
of
India's
premier
investigation
agency
–
in
keeping
with
other
alterations
of
names,
it
referred
to
as
Central
Department
of
Investigation
(CDI)
here
–
and
the
wild
rumour
mongering
that
was
fanned
by
sleaze-obsessed
journalists.
Talvar
is
served
fantastically
well
by
its
entire
cast,
and
not
just
the
principal
actors.
Irrfan
is
on
the
top
of
his
game,
as
are
Neeraj
Kabi
and
Konkona
Sensharma.
In
a
brief
appearance
as
the
investigating
officer's
estranged
wife,
Tabu
makes
a
deep
impression.
Gajraj
Rao,
in
the
guise
of
the
uncouth,
paan-chewing
inspector
who
takes
next
to
no
time
to
declare
the
murder
an
open
and
shut
case,
and
English-language
theatre
pro
Atul
Kumar,
playing
the
pure
Hindi-speaking
officer,
are
superb.
Verdict:
Talvar
is
a
compelling
piece
of
cinema.
Not
to
be
missed.