Muscat – Interweaving several sub-plots of casteism, consumerism, and journalism ethics, Bheed, directed by Anubhav Sinha,depicts the exodus of migrant workers during the lockdown a few years back. With a talented cast, the narrative has moments of suspense and extreme tension building scenarios.

Special reference must be given on the slow-burn style in the very beginning when a tired labourer family was run over by a train. The plot follows the challenges and dilemma of a police officer (Rao) who has been designated to hold back truckloads of migrant workers who are returning to their villages at a checkpoint. There are hungry children, old passengers, COVID-denying family members, a rich lady in an SUV, and philanthropists.

No performance is over the top, and it gives a fresh perspective on the star-factor which has been holding sway for long. There are no abnormal flying machismo, neither any songs as breathers. The narrative is taken delicately and story moves fast with some remarkable dialogues like ‘India always looks beautiful from a different window’ (signifying the lush green fields alongside scenes of starvation).

A good film has some subtle messages. A stark contrast on the plight of the girl child is shown well in Bheed. When many believe a girl child is a burden to the family, a teenaged girl is seen ferrying her old drunkard father on a bicycle. Another contrast is about how the police gets all its arms out to corner a petty thief yet remains silent on serious issues.

The black and white grade of the entire film reminds one of Schindler’s List and hammers in our mind the colourless spark in the lives of every confused and dejected character in the movie. The choice of the print of Black and White gives a subconscious depressed look which was indeed the very aim of the makers.

However the movie falls in plot building and ends on a sudden note. As per reports, several scenes needed to be edited out due to government pressure. This is what causes it to end with a jolt.