{"id":6645,"date":"2016-04-04T17:08:01","date_gmt":"2016-04-04T11:38:01","guid":{"rendered":"http:\/\/13.201.39.237\/?p=6645"},"modified":"2016-04-04T17:08:01","modified_gmt":"2016-04-04T11:38:01","slug":"aarya-review-sushmita-sen-makes-a-stellar-comeback-in-this-engrossing-crime-series","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=6645","title":{"rendered":"Aarya Review: Sushmita Sen Makes a Stellar Comeback in this Engrossing Crime Series"},"content":{"rendered":"\nI<\/span>n Aarya<\/em>, Sushmita Sen<\/a>\u2019s faultless turn as a grieving housewife forced to learn and exploit the language of ruthlessness in the wake of a tragedy, achieves the same effect that Jaideep Singh Ahlawat\u2019s Hathiram captured in Paatal Lok<\/em><\/a>.\n\nIt\u2019s the kind of performance that doesn\u2019t just define a show but also has the power to alter the viewer\u2019s perception of right and wrong: influencing whether we stick to viewing the morality of a person, family<\/a>, or the society at large, in binaries or arrive at a larger understanding that has no easy conclusions. That\u2019s because in both Aarya <\/em>and Paatal Lok<\/em>, its lead protagonists are reduced to a product of their circumstances, and then emerge as its survivors.\n\nNaturally, these are characters that demand more from the actors essaying them than from the writers creating them: a peculiar alertness to their surroundings, an ability to connect how their characters could relate to the bigger picture. Even as both these actors rise up to the challenge in similar ways, there\u2019s a crucial difference. Ahlawat\u2019s Hathiram<\/em> feels more like an industry norm \u2013 a seasoned actor finally getting the chance to display his fullest potential (Manoj Bajpayee in The Family Man<\/em><\/a> or Saif Ali Khan in Sacred Games<\/a><\/em>).\n\nOn the other hand, there\u2019s Aarya<\/em>, casting an actress whose last film was a decade ago. Women of a certain age, especially those almost archived in public memory, don\u2019t get the same number of chances or leeways as their male counterparts. It\u2019s perhaps why casting Ahlawat, Khan, and Bajpayee were experiments but having Sen step into a lead role is an undeniable risk \u2013 and the pressure on Sen to deliver, insane. A large part of the pleasure of watching the tightly paced Aarya <\/em>is this precise realisation. It\u2019s impossible not to read Sen\u2019s depiction of a woman left to clean the mess perpetuated by men in positions of power, as both a revelation and a reclamation.\n\n

Women of a certain age, especially those almost archived in public memory, don\u2019t get the same number of chances or leeways as their male counterparts.<\/p><\/blockquote> \n\nCo-created by Neerja<\/em>\u2019s Ram Madhvani and Sandeep Modi, Aarya<\/em>, streaming on Hotstar, is an official adaptation of Penoza<\/em>, an excellent Dutch series that paints a portrait of an ordinary housewife<\/a> rising up the ranks of organised crime. Even then, Aarya <\/em>is by no means a generic remake, unlike earlier Hotstar Specials (Criminal Justice<\/em><\/a>, Out Of Love<\/a><\/em>). The show bristles with originality in how it goes about adeptly translating its universe in accordance to the cultural equations of its setting: a patriarchal, violent Indian society. That, in turn, changes a universal story into a specific origin-story.\n\nSet in Rajasthan, a state still reeling from a royal hangover (early on, a character equates \u201cguns\u201d with \u201cthe pride of the city\u201d), Aarya <\/em>revolves around an affluent, upper-class family: Tej (Chandrachur Singh) and Aarya Sareen, a married couple, parents to three teenage kids<\/a>. Under the guise of running a pharmaceutical company, Tej oversees an illegal drug enterprise with his unhinged best friend Jawahar (a fine Namit Das) and short-tempered brother-in-law Sangram (Ankur Bhatia).\n\nAs we learn in a breathless pilot, the drug enterprise happens to be their family business. Seventeen years ago, Tej, the dutiful son-in-law left his Chandigarh job to take over the family inheritance in the wake of a tragedy. The plan was always to figure an exit route at some point: Tej has been promising Aarya the same for all these years. When their youngest son Adi ends up being caught pointing a gun at a classmate in school, a shaken Aarya, who has never wanted to be associated with her family business, gives Tej an ultimatum: Either leave the business or give her a divorce<\/a>.\n\nBefore Tej can put his exit plan in place, he is shot to death leaving behind a chain of dangerous business rivals (Manish Chaudhuri is compelling), a persistent cop from the Narcotics Bureau, financial bankruptcy, and a series of debts. Suddenly, Aarya\u2019s life comes full circle, except this time around, a tragedy forces her to take up the reins. The starting point of Aarya <\/em>hinges on a familiar question: the identity of Tej\u2019s killer. The questions that we, as viewers, want answered revolve around motives \u2013 the whos and whys. But the makers remain invested in broadening the scope of the material at hand to an extent that after a while, the revelation of the killer seems besides the point. What takes centre-stage instead, complemented by a striking ensemble cast, is an examination of power, desperation, female agency, and what happens when these three things collide in the unlikeliest circumstances.\n\n

Aarya<\/em> bristles with originality in how it goes about adeptly translating its universe in accordance to the cultural equations of its setting.<\/p><\/blockquote> \n\nThe result is a series that isn\u2019t just engrossing and rooted in its milieu but also surprisingly intelligent. Aarya<\/em> (the direction team includes the two co-creators and Vinod Rawat) manages that by primarily earning the viewer\u2019s investment. Even as a one-woman show, the makers pay equal attention to the motivations of its complex web of secondary protagonists, whose moralities and frailties invite constant curiosity.\n\nThe sub-plots stand on their own and simultaneously inform the larger picture, acquiring layers that make its central premise more sinister. The smallest of details are elevated by straightforward filmmaking that connects the dots in clever ways. Even then, the flourishes, and there are several (the editing frequently juxtaposes different moments to derive two different readings of the same scene), never get in the way of the story that the makers are telling.\n\nIf the measure of an arresting crime series is its efficiency in keeping the audiences guessing about the direction it takes, then Aarya<\/em> exceeds those expectations simply by reminding you episode after episode, why you might find yourself guessing in the first place. Is it because you want answers or because you want a good story? That Aarya <\/em>manages to do justice to both, largely due to Sen, alternating between emotions of hesitation, submission, and conviction with an ease of a veteran juggler, makes it one of the better Indian offerings of the last two years. So many shows barely achieve even one.\n","protected":false},"excerpt":{"rendered":"

Sushmita Sen\u2019s faultless turn as a grieving housewife in Aarya, is the kind of performance that doesn\u2019t just define a show but also has the power to alter the viewer\u2019s perception of right and wrong. A remake of the Dutch show, Penoza, Aarya bristles with originality when translating its universe with cultural specificity.\u00a0<\/p>\n","protected":false},"author":103,"featured_media":6646,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[82],"tags":[10683,10692,10693,10684,7054,10694],"class_list":["post-6645","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop-culture","tag-aarya","tag-aarya-review","tag-crime-series","tag-hotstar-special","tag-sushmita-sen","tag-sushmita-sen-comeback"],"yoast_head":"\nAarya Review: Sushmita Sen Makes a Stellar Comeback in this Engrossing Crime Series<\/title>\n<meta name=\"description\" content=\"Sushmita Sen\u2019s faultless turn as a grieving housewife in Aarya, is the kind of performance that doesn\u2019t just define a show but also has the power to alter the viewer\u2019s perception of right and wrong. 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