Review of Kahaani (2012) by Sumana S — 16 Nov 2018

Set in a bustling Kolkata preparing for the Durga puja, Kahaani is an engrossing mystery/thriller which follows a pregnant Vidya Bagchi as she searches for her missing husband. Starring Vidya Balan as a powerful female lead, this film captures the audience's attention as it navigates the determination and fear circling Vidya's mind. As Vidya begins searching for her husband, she finds that most people are adamant that he does not exist. The evidence instead points to an individual named Milan Damji, with whom her husband shares an uncanny resemblance. With the help of Rana, a local police officer, Vidya continues her search and attracts the attention of the National Intelligence Bureau, who also seek to catch Milan and his inside man. The film takes many twists and turns as it reaches its conclusion, with the biggest shock coming at the end. Enjoyable aspects of the film include Balan's commanding presence in the lead role as well as her friendship with Rana, which is hard not to enjoy and provides some lighter moments. The deviation from a more formulaic film plot and the use of Kolkata as a vibrant and cultural background are also enjoyable. In terms of music, Amitabh Bachchan's version of Tagore's "Ekla Cholo Re" adds a touching and emotional dimension to a very raw moment in the film. Additionally, while some may criticize the emotional and teary ending, it provides rare insight into the psychology of a character.

Vidya Balan's portrayal of a strong and independent Vidya Bagchi in this female-centered film challenges many Bollywood portrayals of submissive female characters and works to further the comparison of Vidya to the goddess Durga, the destroyer of demons whose power is a representation of a mother's strength. This image of Vidya as Durga is hinted at throughout the entire film, but is only truly emphasized and made more obvious after she dons the red and white sari given to her by Rana. As Rachel Dwyer and Divia Patel explain, women depicted in traditional saris with their hair tied back (as Vidya's initially is) are associated with the high moralities of an ideal Indian woman (Dwyer and Patel, "Female Character Types"). Once this association is made clear, the connection of Vidya to a goddess who is a powerful destroyer, protector, and mother figure is more obvious. This mirrors Radha's emblematic character in Mother India, who is similarly shown as a fierce mother and protector, not only to her own children, but to the entire community. Radha is also depicted with goddess-like images and qualities, furthering the similarity of both women as protectors, who seek to avenge and defend.