Review: In ‘Santosh,’ a cop-corruption drama with shades of ‘Serpico,’ a woman rises in the ranks
In the gripping noir-style thriller “Santosh,” penned and directed by Sandhya Suri, a widow of a policeman takes up her deceased husband’s badge. Her background in documentaries lends this introspective character study combined with crime investigation a sense of authenticity, as if it were meticulously observed rather than contrived. This work also serves as a thought-provoking critique of corruption within Indian institutions.
Following her husband’s tragic demise during his duty, a grief-stricken Santosh (played by Shahana Goswami) encounters the harsh reality of her precarious position – as a childless woman in a society biased towards men, with no apparent means of support and rather unsupportive relatives to complicate matters. Unexpectedly, she finds an economic lifeline through an Indian law called “compassionate appointment,” which allows the job of a deceased government employee to be passed on to their surviving spouse. In her remote corner of India, Santosh swiftly swaps her traditional attire for a khaki police uniform as her only viable option for survival.
The trainee is initially timid and watchful, considering her sudden transition from a sheltered home environment to a potentially risky working environment. Moreover, she’s primarily assigned cases involving women due to the need for gender balance within the police force. At times, bribes might be sufficient to manage errant men, such as when a woman lodges a complaint against her boyfriend and, in exchange for payment, is granted secret opportunities to confront him. However, when an impoverished family’s missing 15-year-old daughter tragically turns up deceased, the careless and unresponsive police, feeling the heat, bring in seasoned female inspector Sharma (played brilliantly by Sunita Rajwar) to supervise the investigation. Recognizing this as an opportunity for sisterhood-driven justice, Santosh decides to play a part.
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Sharma adopts Santosh as a protegee, but there’s a hint of hidden motives in her guidance. Despite this ambiguity, progress is seen in Santosh’s self-confidence and the case at hand, suggesting a Muslim boy might be involved. However, in the context of Suri’s narrative (inspired by the aftermath of the 2012 Nirbhaya gang rape, which highlighted India’s struggle with women’s safety), another question arises: is Santosh losing something within herself as well? The charm of her new position and power becomes a problematic lens through which to perceive an unfair society.
How does the cost of female solidarity and empowerment measure up when the means to achieve it comes from an abusive system that ultimately transforms Santosh into a clubby, scornful, and vigilante-like individual? In a climactic scene that may seem overly tidy in its resolution, Santosh’s pent-up anger is finally released, which ultimately leads her down a tragic path of identity loss. The descent is facilitated by Lennert Hillege’s cinematography, capturing the oppressive darkness and suffocating daylight with an almost detached, yet not quite naturalistic or noir feel.
Although Suri’s direction in “Santosh” is sharp and clinical, there’s a distance maintained that prevents it from becoming a timeless emotional masterpiece. It navigates its course effectively and powerfully conveys its points, particularly about police cliques. However, at times, this focus on the larger narrative may overshadow the human drama, leaving the audience with an undeniable sense of the film’s impact as a significant case study. Yet, fully understanding the character of Santosh remains a goal that this otherwise insightful movie just barely misses.
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2025-01-10 14:32