The week of the Eclipse

GRAHAN (Odeon, Liberty, Vishal, Paras, Sangam, Batra, Radhupalace and other Delhi theatres): First it was to be released by Govinda's distribution company which was closed down when the film was still under production. Jackie Shroff's much-eclipsed "Grahan" -- meaning, well, ``Eclipse'' -- finally got over all its production problems to hit the screen in a particularly lean period now when no new films are scheduled to be released for another three weeks. But it is doubtful whether ``Grahan'' has really come out of all the eclipses.

Understandably, Jackie must have been totally consumed by a desire to have a closer look at our legal system, once it seized him in what must have looked like a moment of inspiration. An actor well past the phase of running around the bush chasing dusky damsels is constantly on the look-out for maturer subjects. And here it was : a world where lawyers are eager to prove that if it weren't for the ladies of leisure, theirs might have been the world's oldest profession. Also, considering the all- pervasive corruption in contemporary life, it was quite in order to sound the alarm bells : should "Your Honour" continue to dishonour people's craving for justice, be ready to face an unsparing red-hot revolution? Remember Bolsheviks? Or our own People's War Group?

Ah, but here comes the defender of the realm in his shining armour on his white charger -- none other than Jaggi, the lawyer. Not for him filthy lucre or two seconds of fame. ``Let no innocent be punished,'' he would say to his brother, ``and no guilty be spared.'' His solemn tone leaves you in no doubt that he is pronouncing the Eleventh Commandment. And mercy be if you break it.

And who should be breaking it ? Why, none other than our Jaggi -- or Jackie, if you please. He is enraged when he finds a wretched female accusing the brother of his sweetheart of a heinous rape. All that the alleged victim of the crime can manage to produce in her defence at the trial is the look of a startled fawn. And Jaggi is in full form. He calls her a sex worker who wanted to blackmail a Chief Minister's son, a respectable citizen, and therefore in a vulnerable position. And who is more pleased when the accused is given an honourable acquital ? Of course, the Chief Minister's daughter and Jackie's sweetheart, Sunita (Anupama Verma). It calls for a full swing and the Chief Minister's son thanks Jaggi for putting him in an invincible position and that he could now have any girl for his pleasure -- in fact, why not the same girl, Parvati (Manisha Koirala), again? After all, he did like innocent-looking girls more than any other type? That is when Jackie's nightmare begins.

The film gives us the mandatory warning. The characters in it have no connections with any real people living or dead. Yet the fiction progressively gets closer to facts. The Tricolour in the political party's office, the Gandhi-capped political workers; the total ambience belongs to the Congress Party. When the aging Chief Minister suddenly dies, his daughter (Anupama) is nominated unanimously for the post. As Chief Minister she keeps referring to the ten-point programmes of her father. Finally, the journalist who appears as a witness in the rape case admits in the court that he was against converting politics into family business because the days of feudal lords, the rajas, had gone and we were now living in a democracy, which was all too familiar an argument given against what they call the Nehru dynasty.

At that point you begin to wonder if there was any substance in the bazaar gossip that Govinda backed out from the distribution of this film because he might have been unnerved by the political overtones in the story, particularly its crusading edge. Politics is not taboo in films. And there should not have been any trouble with the film if it had ended up saying that all politicians, not some, are always suspect because hypocrisy is their distinctive virtue. It reminds you of all the early films of writers Annadurai and Karunanidhi which always had one corrupt villain wearing a Gandhi cap. There was no direct politics, just a subliminal suggestion. In ``Grahan'' here now the story begins with a probe into our judicial system, meanders into politics, and ultimately peters out as love story proving there is a God because, though lawyers may be bought and sold, the majesty of the law remains intact. Does that sound odd? Well, one has to leave it to the viewers to decide.

``Grahan'' must be the only film in several decades in which a rape victim seemingly has no lawyer to assist the court and the judges dismiss the case after listening to the prosecution only. This and many other such shortcomings could have been easily rectified.

Most actors Ajay such as Devgan, Shah Rukh Khan, Salman Khan and now Jackie Shroff have proved that they should not appear in films produced by them. And isn't Madhuri Dixit in the same class? They tend to distort the story to provide themselves maximum exposure. Something of the kind seems to have happened here. Jackie serves himself a double Sundae -- irresistible Manisha Koirala and connoisseur's delight Anupama Verma. With one (Manisha), he carries on his Platonic relationship with easy grace, and with the other a flaming passionate relationship. Cary Grant once said he belonged to that distinguished class of actors who had never won an award. Jackie might appropriate it to his personal advantage.

While Anupama sparkles in the close physical proximity of Jackie, she fades into a nondescript female once she is elected Chief Minister to replace her father. But all that helps our Jackie in what the Americans call chewing a lot of scenery.

What adds insult to injury is director K. Shashilal Nair's indifference to visual narrative. Cinematographer S. Kumar provides some passages of competent camerawork and Karthik Raja strikes a few right notes for the popularity charts. ``Grahan'' thus looks more of a curate's egg, good only in parts.

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