Sikaar, the latest release from Jollywood directed by Debangkar Borgohain, starring Zubeen Garg in the lead, offers an unrivalled cinematic experience. It is rare to come across a film that blends good acting, direction, a gripping yet comprehensible storyline, impactful dialogues, and well-timed sprinkles of humour, all tied together with state-of-the-art cinematography.
The plot centres on the plight of tea garden workers in Upper Assam, who face ongoing exploitation at the hands of the estate manager. Shankar, a young man among them, leads the charge and urges the management to address their existential hardships.
Matters eventually escalate to the estate owner, residing in London, who, with good intent, delegates the issue to his young son. When this young London-bred man arrives at the gardens with his trio of English friends, they hatch a nefarious conspiracy. Shankar’s love interest, Ashtami, stumbles upon their dark intentions and vows to expose them. A brawl ensues, resulting in Ashtami being violated and murdered. Although the murder was covered up, it is soon discovered, and a distraught Shankar resolves to seek revenge by tracing the culprits, who have fled to London, and killing them.
Perhaps the most striking aspect of Sikaar is that while it portrays the indigenous and, at times, intriguing lives of the tea garden workers and their administrators, the movie has a truly global feel. The visual imagery is top-notch and transporting, with scenes shot in London deftly capturing the contemporary essence of the city. The transitions between scenes are sequential and seamless, enriching the overall viewer experience.
Zubeen Garg plays Shankar with a natural and effortless precision. His portrayal of an honest and upright young man who loves his people, a gentle yet ardent lover who embarks on a fierce mission, an indigenous hunter with both bravado and panache, and a loyal friend, all blend together to create a very endearing character. Zubeen brings Shankar to life convincingly through his nuanced acting skills.
A strong and lion-hearted man with simple life expectations, but vulnerable at various levels, is not an easy character to portray. Yet, Zubeen excels, particularly in his command over the native garden dialect and his high-octane action stunts, which are highlights of his performance.
Siddhartha Sharma, who plays the pivotal supporting role of Rahul, is a treat to watch. His comic timing, combined with continuous empathy and support for Shankar, enriches Sikaar. As a seasoned actor, Siddhartha makes Rahul relatable to the average audience, especially the younger generation. His effective dialogue delivery and acting skills tug at the heartstrings while keeping the audience entertained.
Dhyani Mohan, in the role of Ashtami, shows considerable potential for the Assamese film industry. Aside from a few minor aberrations, she was convincing in her portrayal of an educated, emerging young woman from the tea garden worker community.
Her command over indigenous dialects was a pleasant surprise, and her acting was measured and appropriate. However, her on-screen chemistry with Zubeen felt somewhat restrained.
Urmila Mahanta played the role of an Assamese NRI writer/journalist with aplomb. She portrayed a young, firebrand yet deeply vulnerable woman with ease. Antariksh Sahariah, too, did justice to his role as the wealthy estate manager’s son.
His looks and acting style reiterated that Jollywood is ready to compete with Bollywood and other established regional film industries. However, his dialogue delivery could have been stronger.
As expected, Adil Hussain completed the package with his unparalleled command over the craft of acting. His sophisticated look and measured yet impactful performance as an investigating officer of Assamese origin in London played a crucial role in the climax of Sikaar, a plot-driven thriller fuelled by dark intrigue.
The makeup and costumes contributed significantly to the film’s cinematic appeal. The costumes, in particular, successfully complemented each character and setting. While Zubeen’s makeup was a milestone in itself, the tea garden workers could perhaps have been made to look a few shades darker. In the music department, Sikaar left nothing to be desired, with soulful and mesmerising songs and lyrics.
All in all, Sikaar is a trailblazing film in the history of Assamese cinema, signalling a fresh and unprecedented era of high-budget blockbusters that appeal to both the masses and the classes.
The writer is a former journalist and author. She is the Founder director of Assam LitArt Fest and Co Founder of The Litart Foundation.
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