Between facts and factoid

Nonika Singh 

Art imitates life, and we all know that. But, of late, as Indian cinema has begun to take a cue from actual events, the line between fact and fiction is now getting increasingly blurred. Of course, Rustom, a film based on the (in)famous Nanavati case, puts out a rider in the very beginning  and claims to be a pure work of fiction.

The film starts with a fact-fuelled prologue in Manoj Bajpayee’s baritone voice. The year is 1959, and those were the days when the jury, and not the judge, decided the case. Yes, some eye for period detail is evident.

After all, the film is produced by Neeraj Pandey, the man who gave us ‘oh so riveting and authentic’ Special 26. So, even though he is not the director here, the basics are right with extra dose of Bollywood glamour, of course. 

Glamour puss Esha Gupta’s contribution to the film is merely adding to that ‘surface gloss’, and one stock expression which reads contempt for Rustom ((played by Akshay Kumar). But then, Rustom is the hero of the film and if back then public sympathy was in favour of the decorated naval officer who murdered his wife's lover, expectedly, it goes full throttle to play up the public mood.

Indeed, nothing catches our attention more than adultery. Love and betrayal is the recurring classic theme in both, literature and cinema. Adultery, however is a ‘ticklish’ subject and when you set about justifying it, it’s even more slippery a ground to tread on. No wonder the film skids the moment it begins to build up a defence for the cheating wife Cynthia! The moral ambivalence of her character could have been the highpoint of the film, but that isn't explored at all. Rather, she is reduced to a pitiful caricature.

Alongside, the film moves to an altogether different track to play on patriotic games. You guessed it! How can there be an Akshay Kumar starrer film sans an extra layering of nationalism, and how can the film’s heart not beat for Mera Bharat Mahan?

So, there is some sort of defence espionage rather corruption at high levels woven in. And now we fully comprehend the import of disclaimer which disassociates itself from the real incident. Yet, in bits and parts, the film does draw from the actual case. Was it premeditated murder or in the heat of the moment act for instance? The courtroom drama, however, is far from convincing. Amidst all this, Akshay is credible and sublimated as he stands his ground. Teary-eyed Ileana D’Cruz evokes little sympathy. 

Though the film has your attention, especially in the first half, there are hardly any heartfelt moments. The liltingly beautiful song Tere sang yaara, already rocking the charts, too is done away with in the opening credits. A real pity! And that’s not the only lament. The film that comes to the point soon enough doesn’t really make any point.

When caught on the wrong foot Ileana , who plays Cynthia, says, “I can explain everything”; while Akshay replies, “trust me darling, you can’t.” And that is a telling moment.

So trust us, though watchable, this one doesn't meet the standards Neeraj (even if he is a producer one expects better) has set for himself. Nevertheless, you can watch it for Akshay and host of performances from fine actors such as Pawan Malhotra.