Director and author Suresh Triveni have a picture of the whole mass of problems in Jalsa. That would have been a lot better but with the proven skills of Vidya Balan – the main character of Triveni’s first film Tumhari Sulu – and Shefali Shah. The two combine wonderfully to remove the chestnuts from the fire. If some of the efforts show, it is because the two tools they have called to work with are still very small. Now, know about Jalsa Movie.
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Jalsa Movie Review
Jalsa, the original Amazon film, is good, but it is not in vain. The moral drama compared to self-preservation has Balan in the role of journalist Maya Menon who prides herself on her honesty and fearlessness. Shah plays Ruksana, a maid who cooks for a journalist and cares for the deceased’s special needs son Ayush (Surya Kasibhatla, a ten-year-old child actor with cerebral palsy and one of the film’s main characters).
The Jalsa film opens with a young couple on a joyride on two wheels. The night ends tragically. When she returns from work early in the morning, the weary Maya runs over the young girl and runs away, not what one would expect a responsible journalist, “oh-so-ethical” to do.
It turns out that the girl Maya left in the pool of blood is Ruksana’s only daughter. Maya chooses not to divulge a secret to her chef as the latter continues to be an important part of the home and pillar of support for Ayush and Maya’s mother (Rohini Hattangady).
As Ruksana’s daughter Alia (Kashish Rizwan) lies in a hospital bed fighting for her life, Maya takes her boss Amar Malhotra (Mohammad Iqbal Khan) to regain her confidence. He advises her to sleep until the storm passes. But then a zealously trained journalist, Rohini (Vidhatri Bandi), was determined to uncover the secret.
A series of sequences of events often divert attention from the drama of two women from two sides of the social divide dealing with conflicting emotions and critical ethical questions. One has to think of guilt and confusion, the other to grief and powerlessness.
Vidya Balan and Shefali Shah give their roles with everything they have and that keeps the film boiling despite the inevitable deviations it makes. The true test and how it dies on the altar of self-interest and financial power does not get the different focus you need. The Jalsa method is not overly sad, but the film puts the human mistakes under the scanner and reveals a few logical points.
The film is very compelling in its two hours. The screenplay of Prajwal Chandrashekhar and Suresh Triveni touches on a wide range of self-discipline practices – ethics, ethics in journalism, police corruption, class division, the challenges of being a single mother, the struggle to balance work life, and the changing of rights.
Some of the buttons hit by the film may not be hit hard or they will not always be hit. The result is a clear and general refinement of the film’s main purpose, which is a growing gap between Maya and Ruksana due to the inability of the first to go public.
Director Triveni, on the other hand, deserves commendation for not giving too much importance to the drama. Yes, Maya Menon’s character is in a very difficult situation, especially when Ruksana is present, but as the actress plays the part with the knowledge of where to draw the line, the scenes remain within the emotion of a sharply changed film.
Most notably is the climax, which depends on the critical situation caused by the innocent action. It takes a bad measure when you consider what happened between the journalist and his domestic worker and the strong relationship between the boy and the disabled boy below him. In line with the film’s controls, the last moments, refreshed with real emotion and real beauty, are provided with remarkable restraint and efficiency.
Hindi films directed by women probably no longer make the news as fast as they used to because they are no longer as regular as they used to be. However, one cannot help but notice the fact that Jalsa made the point of not only putting two women at the heart of the plot but also writing some of the most important female roles in the film. Maya’s mother – Rohini Hattangady who makes full use of limited screen time – registers her presence unconditionally and acts as a wise voice even when things threaten to get out of hand.
Moreover, a young journalist (remarkably well played by Vidhatri Bandi) who poses a threat to Maya for her youthful integrity is given a fair go. She highlights a news item that highlights how a real business operates in a highly competitive and flexible environment and emphasizes the difficulties of those who have to travel from distant cities in search of work in large parts of the country. cities.
For cinematographer Saurabh Goswami, Jalsa has two separate checkpoints. On the other hand, there are neat, surroundings of the office and home of Maya Menon and the bright lights of Mumbai. On the other hand, street-level views and dark areas of the city as well as unsanitary, dirty, low-income homes serving middle-class and high-quality people.
Related – Where To Watch Jalsa (2022) Movie Online?
