Rajkummar Rao, Geetanjali Thapa
Madhu Mantena, Vikas Bahl, Anurag Kashyap
‘How did no one else tap into this story idea before?” director Vikramaditya Motwane asks, while we are flummoxed, how did he take such a seemingly simple paraphernalia and turn it into a nightmare.
Shaurya (Rajkumar Rao) is like any one of us, he is a working white collared man, choosing his dreams according what his salary can afford him. He is living with the same fears as you and I, with the same heart that is looking for someone to love, with the same hopes as us for something more than the ordinary, but not too extraordinary cause that too would be scary. For someone as ordinary to find himself in a middle of a bustling city fighting for survival, seems surreal but Motwane not only makes it believable he also ensures you, the audience end up embroiled in his protagonists emotions in less than two hours that you spend together.
Like any other survival film, TRAPPED feeds on the feelings of the audience, “What would I do, had it been me?” Shaurya does all that we could have imagined he would do, and more in the bid to call for help but it doesn’t amount to much. In a typical Phantom fashion, Vikramaditya moves into many more debates as we tread along with panic, claustrophobia and fears of Shaurya. Right from beef bans to the urban loneliness, TRAPPED speaks of it all and more. But at the heart of it, the film speaks about the unpredictability of life, even in the most ordinary circumstances. From thinking about flatmates who hardly existed while they were around, to the crowds of the Mumbai locals… Motwane makes us realize how precious these small interactions can get, because they signal one thing – we are alive, and ticking.
There are three people who need a mention in making his film the edge-of-the-seat-entertainer that it is, firstly of course there is the talent house himself Rajkumar Rao. To be in every frame for an hour and forty-two minutes and engaging an audience with your face, your eyes… your body language, cause really there aren’t too many dialogues in the film, is no mean fete. He does it consistently, and remarkably. There are times when you might not completely agree with what’s happening but you will always relate to his face, his character and his feelings. That’s the mark of a superlative talent and Rajkumar Rao does it without disappointing his fans. He is completely in charge of the film, while looking wretched and lost in his own house.
Siddharth Diwan’s cinematography is an equal protagonist in the film. To begin with, it toys with the audience, just the way the script has been toying… early in the film, both Shaurya and we, don’t realize the gravity of the situation. How bad can it be to get locked inside your own house? The panic sets it when the calm cinematography starts getting jerky, making us want to look desperately all over the frame, one way or some way to help Shaurya, one way or another to stop feeling ‘trapped’. Kudos to how Diwan has played us through the film.
Of course, last and perhaps the only one associated with the film who has liberated himself as he trapped us all, is Vikramaditya Motwane. With UDAAN and LOOTERA he did acquire a lot of applause but he did manage to saddle himself with the labels of ‘slow paced’ ‘sedate’ filmmaker. He completely rubbished that rumour with this thriller. No one in their right mind would call a filmmaker who can keep you at the edge of your seat for nearly 2hours could be called sedate, right?