By Poulumi Das
Before Omertà, the dreaded terrorist Ahmed Omar Saeed Sheikh had found his way to the big screen on two different occasions. The first was in Michael Winterbottoms 2007 film A Mighty Heart starring Angelina Jolie and based on the memoir of Mariane Pearl, widow of Wall Street Journal reporter Daniel Pearl. The second, coincidentally was in Hansal Mehtas Shahid (2013), a biopic on slain lawyer and human rights activist Shahid Azmi.
In Shahid, Sheikhs presence was incidental to the film. Played by Prabal Panjabi, he tries recruiting Shahid Azmi (Rajkummar Rao) after revealing the Air India IC-814 hijacking plan to him in Tihar jail. Both the films however, barely scratched the surface of the sangfroid that a dangerous sociopath like Sheikh was capable of maintaining. Thats precisely what Mehtas Omertà, a docu-drama-style biopic on Omar Sheikh starring Rajkummar Rao with a terrible accent sets out to correct.
Omertà, arguably Mehtas most provocative biopic, throws light on the improbable life of Omar Saeed Sheikh, a British-born terrorist of Pakistani descent. Sheikh has been well known for his connection to Osama Bin Laden besides being directly involved in the kidnapping of foreign nationals in Delhi, 9/11, and the kidnapping of Daniel Pearl.
Over the course of the last five years, Mehta has built an inimitable cinematic voice evident in reinvigorating Bollywood biopics. In a universe populated by hagiographies or masala entertainers like Sarbjit, Mary Kom, and Bhaag Milkha Bhaag, Mehta attained the reputation of hunting down unconventional stories that were just waiting to be adapted on the big screen. His last three outings, Shahid, Aligarh, and Simran are a testament of films that have profited from their phenomenal source material (regardless of how the final product eventually looked). Omertà, too is no exception.
Another element sets Mehtas biopics apart: His propensity to delve deep into the minds of his protagonists be it gay professor Ramchandra Siras or terror convict turned lawyer Shahid Azmi. Its this very trait thats glaringly missing in Omertà. Despite Mehta setting up the film in a way that it holds no unique value if it doesnt spell out the specifics of how an ordinary man becomes the face of fundamentalistic Islamic terror. The films tagline goes as far as claiming that it is a brief history of terrorism and yet it seems disinterested in investigating the very mind of Omar Saeed Sheikh.
Omertàs biggest flaw then is that it forfeits its sole purpose: identifying and studying a monster.
Ironically, what was once Mehtas strength ends up highlighting the films greatest weakness. Omertà is disappointingly as effective as a dramatised Wikipedia entry. There is nothing in the films 96-minute runtime that hasnt already been told. Omertàs biggest flaw then is that it forfeits its sole purpose: identifying and studying a monster. Instead, your semi-compelling consolation prize is a chilling portrait of a man battling with the paradox of religion, revenge, and justice.
Ditching chronology, Omertà rushes through the high points of Sheikhs life, spending the least amount of time tracing his upper-middle class life or why he drops out of London School of Economics at 19 to join a militant training camp in Lahore. Its suggested that he gets radicalised on an Islamic aid expedition to Bosnia; but the film barely explores how the trip came to have such a drastic effect on him, save for a casual father-son conversation.
Mehtas misguided preference of identifying instead of studying is also why the films crucial scene that has Sheikh beheading Pearl after the latter tries to escape, barely manages to elevate either the film, or the level of fear in the minds of the audiences. Without context about what makes the monster inside Sheikh tick, this cold-blooded moment that has an unforgettable shot of Rao cleaning his glasses after the act, even while half of his face is drenched in blood adds no heft to the film. Its also the reason that some of the films most arresting scenes that could have peeled the layers off of Sheikhs personality and brought the film together, come across as independent showreels of a television newscast. After all, whats the point of seeing the very many terrors Sheikh unleashed without being told why he did them?
The fact that Sheikh, a well-educated man willingly embraced terrorism is spelled out umpteen times in the film by several characters. Its essentially why a subject of this nature a man who is fully aware of his actions and opts to be brainwashed necessitated a deep-dive into the making of terrorism. For a film that intends to be a case-study of religious fundamentalism, Mehtas hesitation to dig deeper into what egged Saeed into becoming the temperamental yet calculated kingpin ensures that Omertà is just a missed opportunity.