Berlin review: A layered story of deceit, betrayal and sacrifice

Atul SabharwalThe third feature film, “Berlin,” is a spy thriller set against the backdrop of India’s efforts to build strong geopolitical ties with Russia under Prime Minister PV Narasimha Rao. The Cold War has just ended, and the national economy has ushered in a new growth point. As circumstances changed, so did the way intelligence services operated. The film is bluntly rational and minimalist, and presents mystery and tension distinctly and poignantly. The story unfolds mostly in a claustrophobic location where civilians are constantly wondering. This proves to enhance the atmosphere of the spy game, as it draws the viewer into the deceptive rituals of bureaucracy, where intelligence agencies walk a delicate tightrope between management failure, honeypots and denial.

In 1993, winter plunged the city of Delhi into a cold spell. Pushkin was an expert in sign language and taught at a school for children with different abilities. Suddenly one day, he was officially assigned to serve as a translator during the interrogation of Ashok (Ishwak Singh), a deaf-mute young man whom Sandy, the Bureau’s intelligence officer, suspects is a spy. Despite his reluctance, Pushkin took action. As Pushkin began his work, he was kidnapped by a rival intelligence agency called Wing, which was at odds with the bureau. Wing’s agent Raman pressures Pushkin to manipulate the interpreter, threatening his family’s safety. The interrogation continued the next day, and Pushkin’s behavior led Sodi to suspect that the translation had been compromised. Pushkin noticed a café called Berlin where secret government messages were passed around very casually among intelligence agency workers. Ashok works as a waiter in a cafe. The Russian president is expected to visit India soon and a plot to assassinate him is already underway. A mysterious woman believed to be part of the conspiracy has gone missing, and finding her will prevent the chaos from happening. Pushkin was now caught in a web of secrets and lies, fantasies and harsh truths, loyalties and betrayals.

The brilliance of “Berlin” is the way it creates an atmosphere of fear and suspense through a slow-paced narrative that brings the palpable believability of a fictional world. What the film does so well is immerse us in the lonely and isolated world that the characters are forced to inhabit. It effectively establishes a general sense of paranoia that characterizes the surrounding environment. It allows viewers to feel the tension and uncertainty that defines their lives. The sign language communication between Pushkin and Ashok carries a subtle and subtle emotional connection. As Pushkin becomes Ashok’s voice in the Bureau, a bond seems to form between them, which complicates Pushkin’s role as translator and blurs the lines between responsibility and empathy. Sometimes, Ashok would suddenly ask Pushkin, after whom he named the Russian poet, and whether he felt lonely. This curiosity not only humanizes Ashok, but also unsettles Pushkin, causing him to reflect on his life, isolation, and the moral burden in which he has fallen. More complex, as the emotional stakes rise with each passing moment. The brutal structure of the government offices and the claustrophobic space of the interrogation room lend a grim, oppressive atmosphere to the proceedings. The ancient, unyielding architecture reflects the rigidity of the bureaucracy. A closed environment increases psychological tension. Pushkin and Ashok are trapped in a space dominated by power dynamics, gaze and manipulation.

While the storyline is solid, the film falters midway through and struggles to keep us engaged with the story’s progression in an engaging way. The plot presents a seemingly complex series of events that ultimately distract from our involvement in the film. The interrogation scenes drag on and take up most of the screen time without allowing the story to move along compellingly towards its conclusion. It feels like Sabharwal, who also writes the screenplay, is just going through the motions and the action is a bit too repetitive to leave a lasting impression. This movie would have benefited greatly from being shortened by about thirty minutes. The missing woman’s personality is crucial to solving the central mystery, but is treated as filler lacking depth or clear motivation. Ashok’s sudden ability to find the address of a member of the Wing and become proficient with a gun feels far-fetched and unconvincing. Pushkin’s premarital meeting with a girl, in the presence of her father (Joy Sengupta), is shoehorned into the story to highlight the benefits of India’s liberalization and to contextualize the high salaries offered by multinational corporations Compare with government jobs. The film’s climax fails to deliver a satisfying twist or revelation, leaving the ending feeling flimsy and unimpactful.

Cinematography by Shridutta Nanjoshi Effectively capturing the film’s era, it highlights subtle differences in light and shadow, resulting in a visually striking presentation that complements the film’s minimalist setting. Whether it’s the claustrophobic atmosphere of the interrogation room, the vast cafe, or the secluded exterior locations, the camera maintains a constant sense of movement, a consistent subjective perspective, and the carefully crafted sequences are carefully crafted and executed. Erin Dar MalikThe editing maintains the pace of the film, providing an engaging pace that allows us to linger in the moments while intensifying the pace when necessary. Her clever shifts in perspective bring an edgy feel that makes the film more dynamic and engaging than the script could have been. Production design by Ashok Lokare and Sandeep Sheral Architecture, landscaping and interior decoration are effectively reproduced with meticulous attention to detail. Elements such as the National Panasonic cassette recorder, Contessa and Fiat cars and tape recorders truly evoke the 1990s and become integral characters in the film. Sound design by Anthony Luban A poignant balance of nuance and dialogue is achieved, evoking a vision of a questionable world filled with deception. The piercing sound of a phone breaks the atmosphere, heightens the tension, and reflects the characters’ anxieties as they cope with an uncertain reality. The background score is given by K Krishna Kumar It effectively conveys a sense of gloom and panic, enhancing the emotional impact of the film.

Aparshakti Khurana Pushkin Verma gives a restrained and sincere performance as a translator who struggles with his own conscience to discern the guilt or innocence of others. However, his noble efforts can sometimes feel stilted and imperfect. Ishwak Singh portrays Ashok as a deaf mute with sensitivity, conveying intelligence and emotion without saying a word, showing that his disability does not overshadow his abilities . Rahul Bose Effectively plays the controlling, controlling Jagdish Sandy, but given his size he could have given a more nuanced performance. Deepak KejriwalThe portrayal of Wing agent Raman is unconvincing, and Anupriya GoenkaUnderutilized in her brief role. Supporting cast includes Nitesh Pandey, Ujjwal Chopra, Kabir Bediand Jigar Mehtaperformed well in their respective roles.

All in all, despite the filmmakers’ intentions to create a rich and thought-provoking narrative, Berlin ultimately fails to live up to its aspirations. Intricate layers and complex themes are meant to captivate viewers, but instead result in a slow and lackluster experience.

Berlin review: A layered story of deceit, betrayal and sacrifice