WATCH THE TRAILER HERE
First, the Recap:
The structure, composition, and patterns of unlawful violence, intimidation, and malicious intent. We would hope these factors are not remotely engaged within ourselves or anyone we personally associate with, but also acknowledge with unease that they DO abundantly reside within our larger world. What drives those who would utilize these concepts to initiate “wars” against that which they believe is wrong and needs to be erased from the Earth is strangely alluring, even in the pure evil it represents. Yes, what IS in the construction of someone like this? Pakistani by descent, British terrorist Ahmed Omar Saeed Sheikh (Rajkummar Rao) finds himself a part of an organization looking to kidnap Westerners, which he then serves his time for. But, with his newfound freedom, he then plots to put an abrupt end to, in the organization’s eyes, a snooping Wall Street Journal reporter Danny Pearl (Timothy Ryan Hickernell), which becomes a bigger exposure of Ahmed’s power of belief and the rigid “code of silence” he’s chosen to adapt to execute his ongoing campaign of terror, giving a glimpse into all the elements that made him who he is.
Next, my Mind:
When I just spoke about the challenges of filmmakers facing potential controversary for putting out projects that speak so deeply to political or socially conscious subjects in my review of “Aligarh”, it is this exact same director who brought to life this feature film that focuses on one of the most volatile topics in our world for, honestly, far too long–terrorism. However, to not only address the grander subject but then narrow it down to a biopic centered on one particular radical whose infamy lives on to this day would seem even more of an uphill climb, especially when it humanizes the antagonist in question and makes us have to admit he was, indeed, a man formed and pressed into decisions by the circumstances around him. As will be indicated below, it isn’t a celebration of chaos, but a revealing look at what does shape us as people, and in the hands of Hansal Mehta once more, his signature style, flair, and no-nonsense approach to these matters is so beautifully executed, something mainstream American filmgoers should take a chance to view.
An utterly undaunted, continuously riveting, unflinchingly, irrefutably provocative, deeply engaging, blunt force study in radicalization, potency of belief, and the rigid, unwavering, malicious but undeniably fascinating pulse of extremism is what we are witness to through this highly effective, based-on-true-events, part biopic and full-on dramatic thriller from writer/director Mehta, writer Mukul Dev, producer Nahid Khan, and executive producers Shahnaab Alam, Jai Mehta, Alok Tripathi, and Meraj Shaikh. What this critic felt was so captivatingly unique about this particular effort is that it honestly humanized terrorism, not REMOTELY as an endorsement or in support of it, but rather just being willing and bold enough to illustrate and help us understand the makings of one man’s quest for his ideas of justice against the oppression of the people dear to his heart and upbringing, despite choosing a means to do so that is pure evil and filled with overt hatred.
Presented from a similar basis and perspective as “Sadar Udham”, the narrative that tracks the attitudes, actions, and politically motivated agendas of one single man fueling a desire to inflict retribution upon any and all he sees as representing the governments who’ve allowed his people to be mercilessly slaughtered, the overwhelming amount of clandestine support and inspiring leadership abilities he builds over time while being trained as a “freedom fighter” is admittedly both impressive yet terrifying, only in that represents how a mindset of overt anger can be housed within the human heart to such an magnitude that terrorism becomes the only vehicle to pursue and make the “necessary statements” against perceived tyranny. Again, these are not thoughts to say this methodology is at all even vaguely RIGHT, but one has to acknowledge the general validity and dogged resolve to chase answers and bring about change that is being explored here.
It’s a harsh lesson being taught here, as there will ALWAYS be the voices of better reason and logic attempting to dissuade radical or militant means as the way to usher in said changes, and that is duly exhibited over the course of the story, but other facets of this whole concept of what terrorism does–ie: showcasing potential vulnerabilities of those they seek to upend with their actions–can speak volumes to the whole notion of realizing that NO ONE in itself is totally safe from the reach of terror. I feel we’ve sadly had to see this through current news articles and broadcasts about normal people getting seduced into joining up with fanatical organizations, as these groups most assuredly make it LOOK like an “attractive” thing to be a part of. It is about appealing to the nature of us to want to stand up and be bold in supporting a cause, and there is nothing wrong with have those passions at all, since much of it can lead to positively initiated transformation. But, as shown in this story, it can also become deadly obsession with dire consequence to innocents.
What I admire about this film therefore, as I mentioned or hinted at earlier, is that we’re granted this insight into the total process of what it is to be driven to unrelenting, unyielding, but then entirely remorseless, deeds to serve a purpose and supposed sense of satisfaction that is born out of what I would actually have to call, cliché as it may seem, good intentions and rationale that simply gets misguided and distorted into acts of violence as the undertaking to see it through rather than negotiation or other more diplomatic, peaceful paths. In my opinion, we get to witness an intelligent, fully capable man whose life could have taken any myriad of roads just end up on the wrong side of things thanks to the circumstances he was exposed to and the choices he subsequently made. In grander terms, this is the story of our lives, right? It’s more disheartening when we choose the destructive journey instead of the constructive one, but don’t we convince ourselves constantly that “No, this WAS the way to go” more often than not?
Having just recently screened and reviewed the excellent dramatic effort “Aligarh” that featured Rao in a fantastic co-starring turn, here he gets to take center stage and does so with his patented blend of equal parts understated poise and wholly explosive passion via the role of Omar Sheikh, a man of deep yet ultimately disturbed convictions who makes his way from Lahore, Pakistan to New Delhi, India to begin what would become a consistent run of terror, initially against foreigners, until his aims become more singularly focused. Calculating, precise, wary, confident, informed, and calm under pressure, Sheikh’s natural charisma as a person is utilized highly effectively to bring about the “successes” his organization desires. Even after being captured at one point, his stalwart code of silence and overall defiance remains intact, following him all the way to the cunning entrapment and murder of Danny Pearl.
Even beyond this, his legacy and influence carried on. Watching Rao play out this character is truly mesmerizing, as the actor does so deftly portray the elements as stated above with convincing credibility and absolutely persuasive force that has you drawn in from start to finish into the birth and mind of a terrorist. It’s a deeply noteworthy performance and a total credit to Rao’s evident talents. Supporting roles are aplenty, including Rajesh Tailang as Gen. Mahmood, the one who makes the order to have Sheikh target Pearl, Satwant Kaur as Omar’s mother Qaisra, Keval Arora as Omar’s far more pacifist father Saeed, Sanjiv Chopra as Maulana Abdullah, a leader whom Omar is under in Karachi, Hickernell as Wall Street reporter Danny Pearl, whose push to look into and gain a story about the terrorism world ends up putting him on the radar of those who want him out of the way, Rupinder Nagra as Maulana Ismail, a recruiter Sheikh approaches to begin his radicalization, Happy Ranajit as Aftab, a cellmate of Sheikh’s while he’s incarcerated in Tihar, and Kallirroi Tziafeta as Danny Pearl’s wife Mariane among several others.
So, in total, “Omerta” is a sharply intelligent film reflecting our contemporary times well beyond the years the actual events this was based on took place, not just through the historical significance it delivers, but also as we still see the eerie “allure” of fanaticism in the name of ideals, principals, and objectives, whether social, religious, or political, and the apparent necessity to believe abject violence against that which “opposes” these is going to solve things. It’s the kind of reminder we may not be comfortable facing, but it should be the continuing wake-up call to us as the human race that until we discover the ways to work out differences without hate and anger, terrorism in many forms will remain present and those who pursue it will remain in the minds of all of us each and every time we walk out our doors into this turbulent world.
As always, this is all for your consideration and comment. Until next time, thank you for reading.
