There are two films happening simultaneously in Bratya Basu’s Tara. One cerebral. The other, emotional. A small incident while we were watching the film, illustrates this point.

During interval I was curious to find out what others in the audience thought of the film. So I stepped out into the foyer and mingled with the crowd. A youngster, sporting a trimmed beard, told me that the film was gripping initially but later on started losing focus. Two other elderly gentlemen thought the film was stark and realistic.

The show over, the same youth sauntered back to me and confided what he had said earlier was wrong. The real theme of the film had to be diluted by the director with a dose of romance to make it more acceptable to the audience. His parting quip should bring a smile to Bratya’s lips. The youth predicted the film would do well in the mofussil areas. He should know. He was from Bankura.

But I think what he said wonderfully sums up the film in one line. The cerebral, the political aspect of the film had to be compromised with a love story for greater public acceptance.

Therein lies Tara’s strength. As well as its weakness. Tara could have been a serious reflection of our times: dark, bitter, unpalatable. And could very well provide us with the underlying reasons behind the rise of the Naxalite and the current Maoist movement in India. By the director’s own admission his film is not that. Bratya, in a pre-release interview to t2, said: “Tara has a political backdrop, but it is essentially a story of love involving three characters.”

So be it. If Bratya wants to make a commercial film on the Maoist movement who are we to say no. But if he had been able to use the mass movement that rocked Jungle Mahal only recently, even if only as a backdrop to the film, it would have been such a treat to watch. Unfortunately, that part is restricted to the credits only, which is a pity.

However what is on offer is interesting enough. The link between the political and romantic element is brought about by a retired professor and his only daughter, both of whom get drawn into the vortex of a sinister plot by a sheer quirk of fate. The film shows corruption, the unholy nexus between bad netas and bad cops, mindless torture of suspects inside police lock-ups — you name it.

In this dark scenario appears the honest-to-goodness cop by the name of Jahangir Khan (Tota), in his white stallion (read: white open-top jeep) like a knight in shining armour, galloping full tilt to save the damsel in distress (Paoli).

It’s the medieval story of the fight between good and evil brought up to date for you. There is populist dialogue, high drama, surprisingly professional fight sequences, a slow-mo shot of a gangster falling off a speeding mobike, being particularly impressive, all the masala to make your blood boil in righteous indignation. No wonder, at Bijoli Cinema, where we were watching the show, there were repeated full-throated cheers from the audience, specially when Tota makes mincemeat of the forces of evil.

Tota, I must say, fits the role of the honest cop to perfection. His acting is totally credible, even when he resorts to histrionics. Unfortunately, the rest of the cast falls back to melodrama and staginess to spoil the show somewhat. Thus it is that Gautam Halder, a powerful stage actor, ends up hamming his punchline, ‘Mama Mia’, through endless repetition, as does Chandan Sen, with the overuse of the handkerchief in every scene he appears.

Even Prosenjit, who has of late given us fine, sensitive portrayals, falls back to the mannerisms of his former superhero days, which is sad. And one glaring flaw on Bratya’s part: how did Indra Bose (Prosenjit) become the leader of the underground Maoist movement? By being a wholetime lovelorn painter? C’mon Bratya, get real.

Surprisingly, Bratya as the Maoist leader from the south comes up with an exceptionally restrained performance to steal the show. Music, especially the background score, is often loud and counterproductive. The songs provide romantic relief, not much else.

Tara in parts is exceptional. In parts it is not. Bratya has deliberately made it that way. But certainly it has all the ingredients of becoming a popular film based on politics.