Jigra review: Alia Bhatt, Bachchan worship, emotions, and the craving for more Vasan Bala quirk

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Jigra Review: Plot: Satya (Alia Bhatt) and her brother Ankur (Vedang Raina) are orphaned siblings raised by their distant relatives, who are at the mercy of the uncle they call Bade Papa. When Ankur is falsely accused of drug consumption in a place called Hanshi Dao, where he goes with his cousin, he becomes a scapegoat. The Hanshi Dao court sentences him to death by electrocution, and now Satya must move mountains to save her brother.

Jigra Review: Analysis

Vasan Bala’s brand of cinema is multi-dimensional for those who have been his audience since the beginning. The film is more than what meets the eye; there is so much hidden in every frame that one must dissect every bit. The idea of the world is not merely what we see but a step ahead, where robots deliver poetic justice, or a vigilante derives his power from water. These concepts may not seem wild at first glance, but in his visual world, they carry significant weight and form the basis for a narrative that is both quirky and brilliant. He almost communicates with his audience through his films, taking meta digs or paying tribute to his fans with cameos, without explicitly defining his filmography as any sort of universe. Jigra is his latest directorial offering, and he attempts to do all of this with this Alia Bhatt starrer as well. But does he succeed? Let’s dissect it.

Written by Vasan Bala and Debashish Irengbam, Jigra finds its soul in the fact that it tells the story of a person conditioned to ingrain a savior complex toward their brother. What does a little girl do who has seen her father jump off the roof, committing suicide while covering her brother’s eyes so he doesn't face that trauma? That moment opens Jigra and defines the essence of their relationship. Ankur is Satya’s Jigra; there is no one else she can call her own. The best job the writers do is craft the relationship between Ankur and Satya, the only two people meant for each other. There are no friends or lovers waiting back home; what is at stake is right in front of them, and only that matters because nothing else makes sense to these two. Jigra holds you and makes you cry because you know there is no one to offer condolence to the other if one dies.

The human vacuum that Vasan and Debashish create around Satya, especially, and Ankur in Jigra is terrific. It haunts you and always makes you root for both of them, praying they survive this ordeal. The movie taps into the raw love Satya has for Ankur. In a pivotal moment, she says, "I never said I am right; I am just Ankur’s sister." She will not hesitate to kill someone who threatens her brother if that means keeping him alive. This unpredictable nature of her character adds depth, as she never thinks of right or wrong—only about getting Ankur out of prison. Alia Bhatt is a force to be reckoned with. Her controlled performance captivates, ensuring you never lose grip on her character. She understands that crying isn't the solution, yet she doesn't allow emotions to take a backseat. Her performance is both controlled and moving.

Vedang Raina is a revelation, showcasing what he can do with the right script. He plays Ankur with heart, anger, and confusion, deserving more roles that highlight his range. Jigra benefits from these performances, with Manoj Pahwa portraying a retired gangster wanting to save his son. He becomes the voice of the Bachchan lore that Vasan invokes throughout Jigra. Pahwa brings immense impact to the film, particularly in his final scene.

That brings us to the captain of this ship, Vasan Bala, a director who knows how to add quirk to mundane things and make them appear unique on screen. With Jigra, he collaborates with a star as big as Alia Bhatt and a production house like Dharma, backed by Karan Johar in all capacities. He crafts a film that attempts to cater to a varied audience at various junctures. The signature Vasan Bala motifs are evident, with homages to the Bachchan legacy presented in an endearing manner. It almost feels as though the script was written with the Salim-Javed-era Bachchan in mind for 2023. However, this Bachchan is a 5.4-foot woman who appears vulnerable (now you get what I mean?). The idea that she will take down the world seems almost impossible, yet she does. Jigra excels in this department because it’s Bala’s home ground, featuring nods to yesteryear songs, Easter eggs, cameos, and everything in between.

However, Jigra deserves more of that quirk to qualify as a true blue Vasan Bala film. I do not mean comedic quirk; I refer to the insane twists he typically introduces or the uniquely shaped characters. Remember Sukant Goel in Monica O My Darling? He was a villain you would hate forever, yet the treatment was so compelling and serious, yet twisted, that you wouldn’t expect it in any other film but the VB universe. Jigra lacks that. It creates a villain in Vivek Gomber, a man with roots in India yet patriotic toward Hanshi Dao. Why he is so patriotic toward that place is never explained. There are mentions of revolution, immigrant exploitation, and hate, but these themes are never explored beyond superficial notes.

The music of Jigra is fresh because it dares to introduce new composers rather than relying on legacy names who are currently cashing in on trends. Achint Thakkar brings untamed energy, and Varun Grover’s lyrics strike the right balance. The editing is sharp and purposefully raw. The frame cutting from fireworks to a cigarette is classic Vasan Bala, representing the level of unpredictability the entire film deserved much more of. The climax is beautiful because it returns to the moment it began, illustrating that they not only lived but triumphed!

How is Supri Didi everywhere? Vasan we need to talk again.

Jigra Review: Final Verdict

Jigra is a story told through a unique lens, even if it has some predictable notes. Vasan Bala crafts a love letter to Amitabh Bachchan’s Angry Young Man legacy and does it well, but he restrains himself from injecting more of his signature quirk into it.