- Date of Release: 17 January 2025
- Genre: Crime, Drama, Thriller
- Language: Hindi
- Watch On: Amazon Prime Video
Paatal Lok (Season 2)
Introduction
As admitted in one of the interviews by Anubhav Sinha, the reason why the Hindi film Anek did not really work was because the prolific filmmaker tried to overstuff the individual issues of the North East states by generalizing them, which in turn resulted in a politically dense film (it still was a solid film in my opinion). But this is where the mistake is averted in the second season of Paatal Lok that is primarily restricted to depicting the issues erupting in the state of Nagaland. It is clear and focused despite being dense that distinctly manages to tap into its Naga conflict by fictionalizing a thriller around it. Just for contextual purpose, the core of the issue is that of an identity battle for the Nagas who believe that their ethnic history remains different from the rest of India, in an opposing thought to what the central authority thinks. This very conflict unwittingly forms the fabric of the second season of Paatal Lok which can be compared to a painting – not so much the finished product, but more in lines of preparing the same painting. It outlines the central conflict with broader strokes while slowly filling in it with intricate brush strokes in the form of some fine detailing that results in this screenplay writing masterclass. It is dark, dense, silently provocative and extremely efficient.
Story & Screenplay
The premise of the second season of Paatal Lok is as much about the character dynamics to begin with, as much as the plot which begins as a simple whodunnit. In a turn of events, you notice that Hathi Ram Chaudhary (Jaideep Ahlawat) is still grappling with his department even as his once junior officer ACP Imran Ansari (Ishwak Singh) is now his superior. The journey for the latter isn’t an easy one given that he has been given charge of a murder case of a beloved political leader of Nagaland in Delhi, which has caused a political turmoil in the state’s capital of Kohima. The backdrop is of a political summit between the mainland and the marginalized state that would potentially result in development opportunities in the state of Nagaland. In other words, the situation is similar to that of Jammu and Kashmir, on the back of Article 370 being revoked, which would allow ‘outside’ players to enter the vicinity of the untouched state. But more importantly, you have a ‘Muslim’ officer leading the charge, the failure of which would easily make him the scape-goat. This, while Hathi Ram has to be content with the investigation behind the disappearance of a nobody – something that highlights the power hierarchies prevalent within the system, but ironically with both characters being victims of it in a twisted manner.
What starts of as a solid police procedural, and two diabolically disconnected investigations, transforms into a solid political setup wherein two worlds collide. Luckily, Hathi Ram, the usually brooding official is still content with being an integral part of a major part of the investigation, even as Ansari is happily accomodative, still referring to him as ‘Sir’ despite his position of power. Apart from the two protagonists, the characterization still remains one of the strongest aspects of the drama. You have a seemingly suspicious aide to the Indian Government Kapil Reddy (Nagesh Kukunoor) whose wife runs a hotel that did spot Rose (Merenla Imsong), one of the only suspects to have being captured on CCTV, moments after the murder. You also are introduced to a top cop Meghna Barua (Tillotama Shome), whose journey seems eerily similar to Hathi Ram, even as she grapples with the power dynamics of her department. In two separate occasions, this is relevant – one wherein her superior forces her to lie about her receiving a call from a character that let to a death, and the other involving her junior wherein she exclaims that she is well aware that it is difficult to take orders from a women. Her journey is a Paatal Lok within a Paatal Lok in many ways. Elsewhere, you are also acquainted to the Old Party President of Nagaland (Jahnu Barua), that is meta-reflective of his recent blunder, a fruit seller, a local sharp-shooter, and an estranged son of the victim, all of whom form an integral fabric of the drama.
In many ways, the state of Nagaland plays a vital character that remains subtly headstrong and extremely political. The two perceptions of the state are evident in two scenes (one being in the passing while the other politically raging). In one scene, you see a character politely inquiring whether a train goes to Kohima, its capital even as Hathi Ram stares on with disdain. It is a minor scene but utterly representational of most folks of the country who still are unaware of the currency that is doing rounds in the state (extremely shameful may I add). In the other scene, it is more politically raging following a riot-like situation that breaks out at a hospital after a young protester is gunned down by the police. The protests individually are politically motivated even as the state is shown to be divided between the want for development, and the resolution of an identity crisis that has gone on for years. Therefore, it hardly comes as a surprise that the whodunnit that starts the show is more tilted towards the identity of the state, while only using the murder and its turn of events as a catalyst.
The politics in the show remain hidden to the naked eye while tactfully unfolding in the background. You are witness to a ticker of the farmer protests ending even as the news flashes about three Naga masked extremists wanted for murder. In an early scene, you are witness to a stray comment about minorities to which Ansari replies that he himself belonged to Kashmir. Elsewhere, a character exclaims on the problem with democracy wherein anyone can say anything, even as the ‘Muslim’ officer Ansari looks on. Ironically, even the final twist in the tale involved an autorickshaw parked in front of Hathi Ram’s house with the tagline, ‘Dosti Bani Rahe’, a space assumed for ‘friends’ of Hathi Ram. The references are indirect but quite dense in today’s political climate even as the lines between reel and real begin to blur in a meta-reference of sorts.
I was amazed at how emotionally absorbing the drama was, even while being willing to raise the stakes in the game by bumping off the most supposedly ‘immune’ characters of the world. Be it the instance of a character sharing a goodbye for the timebeing oblivious of the fact that it would be his last, or even a buildup involving a police officer refusing to talk to a family member before being shot at point blank range, the moments are definitely created, some out of shock but never compromising on the emotional quotient of the show. Even the reveals are more in line with the politics of the show – details are unravelled as opposed to being literally spoon-fed to the viewers. The scene lingers on long enough for an important detail to be revealed, even while some stray characters go about their usual lives. For instance, the murder at the start is discovered by an attendant on night duty, casually conveying to his partner over the phone on how he would sneak in a nap, just before stumbling upon a head. Elsewhere, a mobile phone being discovered in a rice container is more a stray event that masterfully links itself to the main event. These moments seem unimportant at first, but every detail featuring every character has a recall value that eventually contributes to the larger picture. This, even as the case becomes personal for Hathi Ram after a point, leading to a staggering set of revelations that are deeply disturbing and deeply political, while indirectly highlighting the lost and less discussed issues of the state of Nagaland. This is a screenplay writing masterclass if ever there was one, seamlessly tying up every character and every situation to the plot with zero wastage!
Dialogues, Music & Direction
The dialogues are subtly stimulating while offering an intriguing picture of politics in the wake of fictionalized events of the show. The subversive nature of the show is mainly through the dialogues that offers a searing political commentary without sounding obvious and laced with dark humour. The BGM is used as a foil to aide the drama without overpowering it in any way. Much of the dense political commentary is disguised as a thriller that is backed by an absorbing score, that makes the drama consistently palatable. The cinematography comprises of frames that always allow you to immerse yourself in the drama, and stay connected to the characters. And because the distance between the drama and the characters is at an arm’s length (subjectively and figuratively speaking), it helps you connect emotionally with the characters, just as easily. The editing is crisp while keeping the length of the scene in check, as a result of which the drama doesn’t seem to get too heavy (despite the dense undertones).
Director Avinash Arun Dhaware returns with yet another banger after Three Of Us, and almost taking forward the mantle that he had co-directed in its first season too. He relies on a lot of undercurrents of commentary that collectively forms the crux of the show, while infusing the drama with stellar characters, and allowing enough room to emotionally invest in them. This, while he doesn’t dumb down the politics of the land, always challenging the viewers to dig deeper and look beyond the obvious, something that sums up his outing as a director. Make no mistake, Avinash remains one of the most unique voices of celluloid in today’s times that needs to be preserved, in the midst of so many of his contemporaries being mere mouth-pieces of the authorities. His direction is refreshing and hopeful, both in the same breath!
Performances
The performances are refreshingly brilliant, and it made me the happiest to witness the authenticity of the casting remaining intact with actors from the specific vicinity being given a chance in pivotal roles. Girish Sharma as Jogi is a treat to watch wherein his spontaneity reflects of his superb prowess as a performer, while ably being able to standout amongst the crowd. Mohit Chauhan as Bhardwaj, Pali Sandhu as Satbir Brar, Kanguirong Gonmei as Thom, Meirambam Ronaldo Singh as Mary, Kikim Singson, Pawan Singh as Jitu and Viren Burman as Dhruv have their moments to shine. Rozelle Mero as Asenla and Theyrie Keditsu as Grace are more or less similar kind of characters with differing ideological representations, and both of them manage to impress. Jahnu Barua as Ken is a layered character and he performs the same with perfection. It was wonderful to witness Nagesh Kukunoor in a pivotal role as Kapil Reddy who is yet again a mysterious character and an indirect catalyst to the whole setup. Nikita Grover as Manju is really affable in a character that is sincere and earnest while having streaks of naivety. Bedang Walling as Issac is a layered character who wants to emote but is restricted by the nature of his profession even while having being brought up in a patriarchal setup. These were complex emotions to touch upon particularly the skewed nature of his beliefs versus his duty, a conflict that he handled wonderfully.
LC Sekhose as Reuben is a fiery character that required him to internalize his anger while letting off steam with frequent bouts of intensity, and he does a phenomenal job. Gul Panag as Renu is a character who is suffering from loneliness given that she is home-bound, even as her son and husband remain only mere guests at her home. And she delivers a heartfelt performance, even while directing her motherly vibe to a character that gives her company, atleast for the time being. Watch her convey in a crucial scene that it is upto the child to decide on whether he wishes to stay with her ‘aunty’ for one more day, knowing fully well that she will again be a loner till her husband arrives next. Superb acting this! Anuraag Arora as SHO Virk has a solid character arc, almost being dismissive of Hathi Ram and quick to take his credit, while an event transforms him for the better wherein you see him taking the mantle of a character. Prateek Pachauri as Bittu is a character embroiled in the state machinery, something that automatically makes him mysterious and layered, often gravitating towards his benefits. And it was a smashing performance yet again by a very talented performer.
Mengu Suokhrie as Esther delivers a subtly heartfelt performance in a character that is helpless and remains a victim of her surroundings. Merenla Imsong as Rose was the fulcrum around which the drama was revolving for most parts of the runtime. And in a way, her character epitomized the state of Nagaland and its issues – her identity crisis towards the case was wonderfully reflective through her performance. Tillotama Shome as Meghna Barua is wonderfully understated while being eerily similar to the character of Hathi Ram. In a way, Nagaland remained her Paatal Lok wherein she had to survive and thrive, while having to try her best to serve her state. And her humane side was also expertly tapped into, wherein she was a totally different person with her child, who strived for peace in the state before the baton is passed to the next generation. She did tactfully touch upon a plethora of emotions in a quietly towering performance that is also heartfelt in many ways.
Prashant Tamang as Daniel (you may remember him as the winner of Indian Idol 3) is intimidating as the youth of the state who is brainwashed into committing crimes (even tjough he believes that killing is the last option). He was terrific with those stoic eyes that led to chilling moments wherein he refused to flinch. This Indian Idol was on song with his character and how! Ishwak Singh as Imran Ansari is an integral part of the show, given his calming demeanor that is a sharp contrast to the hot-headed and impulsive Hathi Ram. He is sincere while always willing to give a benefit of doubt to others, even while having no qualms in being inclusive with his investigation (based on how he was willing to bet on Hathi Ram who was his junior). The emotional connect towards his character was prevalent that also led to a huge payoff at a point on the show. He was incredible to witness. Jaideep Ahlawat is a legend on celluloid wherein he once again scores with the complex character of Hathi Ram. He is impulsive and hot-headed while also sharp with his investigative skills, and occasionally flaunting his humane side for the world to see. Even if he was at a disagreement with Ansari about the latter’s sexual preference, he was willing to shed his giant image and be more accomodative. Elsewhere, his honesty was reflective of opting for just enough amount to pass on to the family of a victim, not wishing to take the rest of the amount in itself. These moments did ground a character that was complex in every sense, while consistently repressed by his own department.
Conclusion
The second season of Paatal Lok is a dark and densely political thriller packaged in a screenplay writing masterclass that makes for a brilliant watch. Hell at the cost of repeating myself from last week, we may well have witnessed the two best shows of 2025 already (Paatal Lok and Black Warrant), and we are just in January. Available on Amazon Prime and Highly Highly Recommended!