THE STORY – Four migrants live in Mumbai whose lonely lives become connected through love, desire, deception, and survival.
THE CAST – Neelima Sharma, Kajal Keshav, Pritam Pilania, Jatin Sarin & Bhushan Shimpi
THE TEAM – Anuparna Roy (Director/Writer) & Nikhil Lama (Writer)
THE RUNNING TIME – 107 Minutes
The quiet yearning of the human spirit is an appealing element of life. Well, if not exactly appealing, the state of mind is very relatable. Looking out into the world from your present circumstances and imagining a better life just around the corner is a plight many have found themselves wrestling with. It’s a powerful emotion that strikes deep because it speaks to the innate desire that guides human connectivity. These strands, born through tangential interactions, guide the individuals in “Lovers in the Blue Night.” It’s a portrait of a group of people who find themselves tethered to others but also seeking solace from the crushing isolation that still manages to surround them. It’s a thoughtful commentary, but one that also struggles to assemble its narrative into a wholly compelling experience.
Set in the bustling city of Mumbai, a group of migrants tries their best to survive the chaotic circumstances they find themselves in. Ameena (Neelima Sharma) arrives in the city with her husband, Karim (Pritam Pilania), and takes a position at the local bar. He’s employed with other women in positions meant to talk with male patrons in a kind of prostitution. One of the managers at the establishment, Omran (Jatin Sarin), isn’t the most confident in his role but tries to balance a stern persona with the tender feelings he has for Amina. As the two begin to develop a relationship, Karim also finds a kinship with Sukka (Bhushan Shimpi), a common thief who invites Karim to tag along on his excursions after a previous encounter that helped him evade the police. Their bond also becomes physical but is complicated by both of their domestic lives, which keeps the relationship secret. Through these interactions, all four make discoveries about the passions that drive them and the sacrifices necessary to achieve a more fulfilling life.
Director Anuparna Roy creates a tranquil setting that has a gentility to the surface but features turmoil raging underneath. The stark framing offers a minimalist approach to the filmmaking that still creates an environment to explore such delicate emotions. Sometimes these feelings are underlined a bit too much, like when unconvincing slow motion is utilized to convey a traumatic retelling that just ends up being more distracting. The momentum often stalls in these long stretches of languid pacing, which can turn dull quickly. The screenplay by Roy and Nikhil Lama has a habit of indulging in repetitive dialogue meant to draw out moments of friction, but it only becomes more tedious as the scene progresses. The intriguing aspects of these characters get muffled in the presentation, sometimes literally due to an ineffective sound design. An engaging atmosphere is being assembled, but the characterizations are less impactful because of the sluggish unfolding.
Still, what is explored thematically has moments of captivating insight. A woman detailing the mistakes she’s made in her dating history, correlated with the cutting marks across her wrists, plays out as a darkly humorous observation about the entangled emotions that come with such devotion. A description of a great flood notes the irony of human bodies sinking, while disposable plastic trash rises to the top. A catastrophic event upends the world’s natural balance, and from that chaos, a new order must be sought. It mirrors the journey these people are on, and the sacrifices necessary to achieve greater happiness. It should be noted that the narrative seems more invested in providing a more optimistic outcome for the heterosexual couple as opposed to the gay relationship, but with that comes an acknowledgment that not every situation can lead to the greater prosperity that is desired.
There’s a light chemistry shared by Sharma and Pilania that definitely signals their estrangement but doesn’t really suggest a strong attachment to begin with. However, each delivers alluring performances on their own, particularly as the former is required to demonstrate a much more dramatic emotional showcase. She offers many devastating moments that are very effective. Pilania has a more reserved and soulful presence that taps into an interiority that is often engrossing to witness. Sarin isn’t as moving in his portrayal, but the connection he sparks with Sharma becomes endearing. His performance improves once he shares the screen with her. Shimpi is tasked with inhabiting a boisterous character, full of hedonism and self-sabotage, that he struggles to present in an appealing way. His harsh personality never quite fits into the piece, and his portrayal never becomes one to be totally invested in. Even the intimate sequences feel distant when they should be filled with passion, even if understated. It’s the least notable of the performances of the main quartet, though a large reason for that is he’s shackled by weaker material.
“Lovers in the Blue Night” attempts an alluring examination of relationships desperately trying to find enlightenment in new directions. It’s a familiar tale, but one that can still hold a great deal of resonance. Occasionally, it finds successful avenues to explore this theme, and the quiet setting can help create an image of intimacy. However, the filmmaking can feel stilted, and the performances vary in effectiveness. There’s a valiant effort to present a more provocative character study that ultimately goes unfulfilled.
