Nithari case similarities, and lessons

Having a robust law and order system is essential, as is ensuring fairness. Director Aditya Nimbalkar’s ‘Sector 36’ takes up the infamous Nithari case and turns it into a hard-hitting drama.

Though the disclaimer at the beginning of the movie duly states that “all characters, places, names and events are purely fictional and any resemblance or similarity to actual events, places or persons is purely coincidental”, those who have followed the case can see the parallels.

The story follows the increasing cases of children going missing from a migrant colony, Rajiv Camp, but the three cops stationed at the police post cannot care less; they have learnt to turn a blind eye. That’s only till tragedy strikes closer home.

Vikrant Massey needs no validation for his craft after ‘12th Fail’, his last stupendous act. Here, as a man wronged, who turns out to be the devil incarnate, he leaves a powerful impact. Be it the first scene in the customised bathrobe of his employer, or enjoying nuts and cursing at the ‘Sab Banenge Crorepati’ show, or at the gate when he taunts the cop, he delivers superbly. The interrogation scene as he moves his hands over his hair stands out for, at this point, he makes the character his own.

In ‘Sector 36’, he gets a befitting opponent in Deepak Dobriyal. Pappiji of ‘Tanu Weds Manu’ has come a full circle. With his vast experience in theatre, Dobriyal mesmerises on how well he can emote. From his indifference to the plight of the parents looking for their missing kids to the steadfastness with which he tries to nab the culprit, he aces the act as Inspector Ram Charan Pandey. His expressions convey myriad emotions — you feel the helplessness of the father, the hope to bring justice to the wronged, and the dismay of being spurned by a senior.

The real heroes are, however, writer Bodhayan Roychaudhury and editor A Sreekar Prasad. For Roychaudhury to turn a widely reported story into such an intense drama is remarkable. The character writing is intriguing for the dual tones that are conveyed.

Some of the scenes stand out as chilling. The one where Pandey hitchhikes and is shown the address startles and scares. Then there is Akash Khurana as Balbir Singh Bassi and Darshan Jariwala as SP Rastogi, the two of the trio who have done ‘bade kaand’ in college and continue to have each other’s back.

Film editor Sreekar Prasad, winner of nine National Film Awards with hits like ‘Hindi Medium’ and ‘RRR’ to his credit, makes ‘Sector 36’ a cinematic win. No frills, no extra moves or songs, the story proceeds at a pace that keeps one hooked.

Aditya Nimbalkar comes with experience in the genre; he was assistant director in ‘Talvar’, ‘Haider’ and ‘Kaminey’. He spins this real saga to a sagacious screen outing.

The film, that comes a year after Surender Koli and Maninder Singh Pandher’s acquittal in the Nithari serial killings case due to lack of evidence, makes a valid comment on the sordid state of affairs. With the recent Kolkata case pointing to another shoddy probe, ‘Sector 36’ comes at an opportune time where we must sit up, take notice of the situation on the ground and come up with definitive remedial steps.

The film haunts long after one has seen it, and much of it is also due to the remarkable background score by Ketan Sodha.