“Santosh”: A layered look at power’s casual cruelties.

‘Santosh’ Movie Review: A Compelling Dissection of Power and Injustice

In Sandhya Suri’s ‘Santosh’, a haunting narrative unfolds, centering around the murder of a young Dalit girl whose lifeless body is discovered floating in a village well. However, the film’s true focus lies not on the grim reality of the crime but rather on the indifference, procedural apathy, and the chilling casual cruelties of power that follow in its wake. The victim becomes a mere backdrop, overshadowed by the broader commentary on how society grapples with the discomfort of injustice.

The Reluctant Heroine

At the heart of this gripping tale is Santosh, played masterfully by Shahana Goswami. A reluctant police constable who steps into her deceased husband’s shoes, Santosh takes on this daunting role not out of a desire to serve, but as an escape from the scorn of her bitter in-laws. This adds a complex layer to her character—she is not a crusader seeking justice but rather a woman navigating the quicksand of widowhood.

On her very first day, Santosh is thrust into a case clouded by despair, crowned with holocaustic indifference from the authorities. The dead girl’s battered body lies on slabs of melting ice while the police exhibit a shocking lack of concern. Initially, Santosh resorts to observance; she learns to blend in, watching how the system operates, all while the weight of her new uniform slowly envelops her.

Power Dynamics in Focus

Suri’s direction presents a stark portrayal of misogyny through the character of the police commissioner, whose qualifications seem rooted in an unwavering belief in victim-blaming. Thankfully, Inspector Geeta Sharma, portrayed by Sunita Rajwar, emerges as a significant presence. With an unsettling air of authority, Sharma embodies the pragmatism often found in seasoned bureaucrats. Her role is not to seek justice but to perpetuate the machinery of indifference, reinforcing the film’s critical exploration of systemic cruelty.

Under Sharma’s watchful gaze, Santosh begins to experience the small enticements of power. Goswami’s performance captivates as she reveals the subtle transitions in Santosh’s character—her expressions shift from hesitation to steely resolve, illustrating how survival leads to complicity.

A Cinematic Experience like No Other

Suri opts for an unflashy approach; she masterfully avoids the typical thrill of procedural dramas. Instead, tension builds through the everyday compromises that morph into a disquieting reality. The cinematography serves as a powerful companion to this narrative, trapping characters in static frames that reflect the claustrophobic confines of a degraded police station and desolate village.

One noteworthy achievement of ‘Santosh’ is its effective use of non-actors. Their seamless performances create an authentic atmosphere that blurs the lines between reality and fiction, presenting a narrative that feels disturbingly grounded. This contributes to the film’s overarching themes of power and complicity, allowing its inherent truths to resonate deeply.

The Subtle Corruption of Power

The brilliance of ‘Santosh’ lies in its depiction of power as a slowly creeping influence, where moral boundaries are blurred over time. Santosh, like many before her, starts with a fight for survival. Yet, survival within the Indian police force transforms into an intrinsic battle against the engrained caste hierarchies and gender norms that dictate who is deemed worthy of protection.

One of the film’s most striking quotes encapsulates its message: “There are two kinds of untouchables in this country: those no one wants to touch, and those who can’t be touched.” This line, delivered with precision, lays bare the film’s commentary on societal structures, offering a stark reminder of the inescapable realities that underpin systemic violence.

A Hesitant Conclusion

However, one minor gripe lingers—Suri falters slightly in the final act. After immersing the audience in the gritty realism of power dynamics, she seems compelled to provide a glimmer of hope that feels mildly contrived. This shift, although not entirely detrimental, hints at an inconsistency in the otherwise unflinching portrayal of a dark reality.

The most ironic twist? While ‘Santosh’ has gained international acclaim, becoming the UK’s official submission for the Oscars, it remains imprisoned in the bureaucratic limbo of Indian censors, who demand modifications. Ironically, this fate echoes the very themes of suppression and injustice depicted in the film.

Suri’s ‘Santosh’ stands out not just for its storytelling but for its vivid exploration of the cruelties embedded within power. With a runtime of 120 minutes, the film navigates the depths of despair yet offers unfiltered reflections on — as it might best be put — why justice is never a guarantee.

Final Thoughts

In a world inundated with stories of triumph and heroism, ‘Santosh’ dares to engage with the layers of reality that often go unexamined. It paints a portrait of a system riddled with flaws, compelling its audience to confront the uncomfortable truths surrounding power, privilege, and complicity.

Feel free to explore more about ‘Santosh’ and its impact on modern cinema through related articles and insightful critiques. Read more about the nuanced storytelling in Indian cinema to deepen your understanding of this powerful film and its themes.