B.A. Pass




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B.A. Pass
B.A. Pass
‘B.A. PASS' is bold, dark and deeply disturbing!
It’s a brilliantly written and very well executed Neo-Noir, which actually shakes you hard.
‘B.A. PASS' is bold, dark and deeply disturbing! It’s never exploitatively erotic, and sticks to its core theme consistently. But with an overdose of nihilism, it nearly ends up spoiling your mood. The performances are terrific, making this an even more affecting drama.
On death of his parents, a young small-town boy moves to Delhi, to stay with his aunt and finish his college, where he pursues B.A. Pass course. Soon, he is seduced by a mysterious married woman known to him as Sarika ‘Aunty’. Set amidst the neon-lit lanes of Delhi’s Paharganj, unfolds an erotic human drama between the two. A relationship based on lust, lies and deceit is forged. As the young boy gets more and more entrenched into his surroundings he discovers a city that thrives on corrupting even the most naive and innocent.
Male-prostitution is the apparent subject of display here. However, it’s not just about this. It touches the gloomy truth of deceitful relations between the supposedly happily married couples, the insensitive and selfish behaviour of people around you, and even shows how monetary considerations change the very essence of even the closest of your folks. The strength of this film lies in its uninhibited exhibition of raw realities. Yes, it has a few far-fetched instances, but they’re hardly a matter of concern. The conviction and verity with which each detail is put forward by the director cum cinematographer Ajay Bahl, is truly commendable. You almost live the protagonist, feel his pain, his angst and even the disgrace. The screenplay is very engaging. It never spoon-feeds the feelings with irrelevant background score, leaving you with the most authentic taste of sensitivity.
The only negative is the absorbingly depressing theme, which actually, in a connoisseur’s parlance is its greatest achievement. As I said before, it’s a typical “neo-noir”, where characters have often conflicted antiheroes, trapped in a difficult situation and making choices out of desperation or pessimistic moral systems. Visual elements included low-key lighting, striking use of light and shadow, and unusual camera placement. Ajay Bahl’s camera captures the scenes in the best and the most stimulating manner possible.
The performances are really strong. You just can’t feel a film of this genre if the performances are even a tad short of perfection. Shilpa Shukla as the beguiling Sarika Aunty is utterly riveting. She speaks with her eyes, her words and her sly body language. On the other hand, Shadab Kamal, as Mukesh, makes sure he gets it perfectly right each time. He makes his situations totally believable and amazingly impacting. You virtually sink with him, in whatever swamp he’s drowning into. All others put up a commendably realistic show.
To sum up, watch this film for its sheer brilliance in veritably depicting the most repellent, but real incidents. However, be prepared for a profoundly gloomy drama.

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