Berlin (2024) Review!!

Synopsis – New Delhi, 1993, a deaf-mute young man is accused and arrested by the Bureau for being a spy. A sign language expert is brought as an interpreter. As the mystery unfolds, the line between guilt and innocence blurs.

My Take – While Hindi cinema’s biggest stars are currently co-joined in a bombastic full-fledged spy universe, that strictly follows a complete all out template to cater to its mass commercial needs, this latest feature from writer-director Atul Sabharwal (Class of ’83, Aurangzeb) takes a contrast slow-burn approach. Focused more on dealing with the existence of political conspiracies and scandals in the 90s, enmity among bureaucrats, and the unethical methods of solving cases based on personal motives.

Backed by noteworthy performances, this ZEE5 release offers a more grounded and realistic portrayal of espionage, where the tension comes from intense interrogations rather than over-the-top stunts. Excellently capturing the gritty, psychological battles that play out in the world of spies.

Yes, some of the film’s plot twists are predictable, yet, the world-building, visual style, atmospheric tension, and intricate details make up for the minor missteps. As the film seamlessly integrates themes of pain and loneliness, adding depth to the narrative without straying from the overarching theme of a spy drama.

Most importantly, it departs from the India-Pakistan rivalry trope, to provide a more nuanced exploration of internal politics, one-upmanship between intelligence agencies and what power dynamics can do to unsuspecting bystanders. In a time when formulaic storytelling has become the flavor of the season post-COVID, the drama’s complex approach comes as a breath of fresh air.

Set in 1993 in the dark capital of Delhi, on the eve of a state visit by a post-Cold War Russian President Boris Yeltsin who has a cryogenic rocket deal up his sleeve, leaving the US far from pleased.

The story follows Pushkin Verma (Aparshakti Khurana), a teacher at a school for the deaf and mute, who finds himself suddenly appointed as a sign language interpreter to interrogate Ashok (Ishwak Singh), a deaf-mute man accused of spying for a foreign country.

Instructed to follow a set of questions prepared by Jagdish Sondhi (Rahul Bose), the head of the Soviet Desk at the intelligence agency called Bureau, Pushkin is ordered to milk out any and all information in regards to a murder and an assassination conspiracy set up for the upcoming Russian President.

However, as the former delves deeper into the case, he finds himself in a complex net of political conspiracies and lies, giving him a new resolve to dig deep and uncover the truth.

Ashok’s story takes us back in time when he worked at Café Berlin and observed things happening around them without the aid of his ears. The café Berlin is frequented by agents of two intelligence units, called ‘Wing’ and ‘Bureau’, who are at loggerheads with each other. And seems to reciprocate the tensions spewing over decades between America and the Soviet Union during the cold war.

What immediately makes this one stand apart is how unlike other spy films, it is devoid of deeds of heroism, instead it conjures up a world where truth is dispensable or, at the very best, prone to manipulation. Fact is twisted to serve the interests of those that are in the business of molding narratives, be they national, geopolitical or merely self-serving.

It isn’t crusaders fighting for the nation but about individuals working in the shadows, intent on protecting their turfs, covering their tracks and saving their skins, none of which they manage to do without causing considerable collateral damage.

And it does all of this through a tightly woven, espionage thriller-like narrative that unfolds more like a sublime novel than an impulsive film. Scenes are thoughtfully placed one after the other so as to elevate the effect in combination.

The 124 minute long film has a couple of quick chase scenes and stray moments of rough and ready action but it steers clear in the main of scenes of violence. Another interesting thing to note here is the dark and gloomy set design. It adds a lot to the eeriness of the plot eventually making you feel a little invested in the film. It also adds intensity and drama to this spy thriller.

Performance wise, Aparshakti Khurana embodies Pushkin with a certain middle-class awkwardness that gets rewarding as the film progresses. Showcasing his versatility like never before, Aparshakti shows fabulous restraint in the way he plays the character, combining his exterior firmness with intensely emotive vulnerabilities. Rahul Bose brings his usual gravitas to his role and carries the arrogance of being in power through the sturdy pitch of his voice and the angst folds of his face.

Ishwak Singh stands out as he brings forth bouts of enigma and charming innocence to portray the tumultuous emotions of his character. Kabir Bedi, Anupriya Goenka, Jigar Mehta, Nitesh Pandya, Joy Sengupta, and Deepak Qazi Kejriwal add depth and complexity to the narrative. On the whole, ‘Berlin’ is a solid slow-burn spy drama anchored by its grounded approach and solid performances.