Am I Missing Something?

In truth, there is barely enough story here to make a film.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

Does this film purport to know the meaning of oppression??? Big Shot journalist loves to eat "Mutton," which is baby goat or lamb killed for human appetite, not for survival, but for pleasure. And then he claims to be against with another form of discrimination practiced against gays??? If hurting humans for being a certain way is wrong, then hurting other beings for no crime than being born different is wrong! This movie made me sick, love and justice know no species. If this is indeed based on a true story, then the filmmakers are to be shamed. No sympathy for those who terrorize others but cry big tears when tables are turned against them.

Some films cease to be a story or a mere depiction of an incident or an issue. You live them. They mirror the society's mindset and in doing so, rake out your own prejudices. Aligarh is one such biographical drama that tugs at your heartstrings. While it is melancholic, the film doesn't resort to melodrama to evoke empathy. Aligarh's heart lies in the beauty of its silences and the unspoken words and unrushed emotions shared between its lead characters. While decriminalising homosexuality is an underlying message, the film essentially revolves around companionship and loneliness, reminiscent of Aparna Sen's masterpiece 36 Chowringhee Lane.Hansal Mehta captures the inner turmoil and unrest of Siras in the most understated manner. Most importantly, he gives Manoj Bajpayee the role of a lifetime and the latter infuses soul to his character. Bajpayee's tearful eyes display an array of emotions — sorrow, vulnerability, angst and fear. Scenes where he is seen reciting poetry in fluent Marathi and being immersed in Lata Mangeshkar's songs all by himself, is work of pure genius. These will go down in history as one of the most soul-stirring cinematic moments.While Bajpayee drives the film, Rao delivers an equally compelling performance. You look at Siras through his eyes as he shapes your perception of the man. Satya Rai Nagpaul's cinematography and Karan Kulkarni's background score highlight the isolation that haunts Siras. Apurva Asrani's heartfelt writing too, deserves a mention."The eyes of others our prisons; their thoughts our cages", this remarkable quote by Virginia Woolf pretty much sums up the film. Aligarh stays with you much after you see it, especially for Bajpayee and his nuanced portrayal of a man brutally put to shame by an intrusive and insensitive society. It's subtlety, redefined.

Aligarh carries a sense of intellect and understanding in the way it has been directed. It doesn't try to be philosophical or engrossing in any form, It stays raw and unfiltered letting the viewers have a first hand experience of the problems that accompany ageing, whether its the loneliness or a step down of the speed in their daily mannerisms, to decide for themselves to settle on a perception. It explores in a subtle way the life of Professor Siras, his simple tastes, listening to Lata Mangeshkar classics and having a glass full of whiskey. The direction in particular is one of the finest one may have come across in the recent past, in Bollywood. Its confident and bold. Bold because it has stayed almost entirely honest to the material instead of holding itself back fearing whether it will work right for the audience, because there are places which can make people go utterly bored or sublimely orgasmic. One such scene is when Siras is listening to "Aap ki Nazro ne Samjha", he is so absorbed in the intoxication of the song that it takes him to a meditative state, making him come in terms of the negativity of his life in its core, subsequently bringing out tears, impeccably acted by Manoj Bajpai. Even with the long list of his honorable performances, I rate this, his best. When it comes to acting, another act, Rajkumar Yadav's lovable portrayal of Deepu Sebastian, a budding journalist writer from Kerala is flawless to the T. The sound design (Madan Kulkarni) as well as the music (Karan Kulkarni) is near perfect for the film. The cinematography isn't a treat but then again a film like this wouldn't fit to any sort of cinematography except a realistic and practical kind. The editing is class, slowly revealing the pieces left off from the previous scenes which help us construct it non linearly, till the final conclusion, by which time it is completely developed. The beauty of the film lies in its detailed attention towards the smaller aspects to give a matured outlook of the whole product. Hats Off to Hansal Mehta for his efforts!

'Aligarh,' the film named after Aligarh in Uttar Pradesh, India, and the famous Aligarh University is a biographical tragedy of Professor S.R. Siras, a Marathi Brahmin, who is a reader specializing in Marathi and Chairperson of the Modern Indian Languages at the University. One day he is accused of having sexual relations with his male friend, a rickshaw puller. Consequently, he is assumed to be a disgrace to the society and expelled from his position. Stellar performance from Manoj Bajpai and Rajkummar Rao are the highlight of the film. They share a great camaraderie. Bajpai's portrayal of Prof. Siras is most natural. He is gentle and calm headed. He is least worried about what the lawyers are arguing about and content in reading a book in the courtroom. His recital of his Marathi poetry is the hallmark of the film.Without going into too many details of Article 377, this movie subtly delivers the message - adults have the right to choose, and anything that happens behind closed doors is nobody's business.Aligarh's pace is slow. Unlike Talvar, this film does not delve deep into the conspiracy surrounding Professor's tenure in the University and his sudden death. Some fractions of the university are jealous of Prof. Siras as he is Maharashtrian in an Urdu speaking fraternity with a top position at the University. Just under 2 hours, the film leaves you feeling sad for Prof. Siras. Director Hansal Mehta chooses the narrative position of the reporter Deepu Sebastian Edmond played by Rajkummar Rao and delivers another bold film after Shahid and CityLights.