While Titli’s desire to escape his life of crime indicates a moral superiority over his brothers, he’s not a good guy. As Titli, his default expression is that of someone smelling something foul. Then again, Titli is as ordinary a guy as they come, so how good of a plan could he concoct even under the best of circumstances? That lack of privacy leaves Titli nowhere to plan his escape.
There’s so little privacy, it feels like a prison. One can’t even go outside to escape, because people are always around, selling something or playing a game in the street. The whole atmosphere of the family’s small corner of India seems grimy, with a translucent, yellow layer of smog permanently obscuring the view. Titli vomits for what feels like forever. The noises Vikram makes when clearing his throat are revolting. Someone in Titli’s family is always brushing his teeth, face covered in foam, drool spilling from his mouth. Not only is Titli at times graphically violent, but director Kanu Behl seems to revel in personal hygiene and bodily functions. She sees her new in-laws as the monsters they are when Vikram and Bawla beat the car salesman with a hammer and leave him for dead. The film’s most violent scene involves the brothers staging a carjacking while Neelu and Titli are on a test drive. They do so by marrying Titli to a young woman named Neelu (Shivani Raghuvanshi).Īs scared as Neelu looks when her parents arrange the match with Titli, she has no idea what horrors await. With the family in dire financial straits - thanks to Titli losing all their money in a poorly planned escape attempt - they decide to add a woman to their bandit gang in order to make heists easier. The only reason his ex-wife was able to escape is that she has enough evidence of Vikram’s spousal abuse to send him to jail for a long time. Vikram’s own father and brothers are too scared to stand up to him. Those used to watching Shorey play comic roles will find his sinister turn in Titli shocking. Their TV-obsessed father (Lalit Behl) is disreputable, too.
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He provides distractions so that his older brothers - Vikram (Ranvir Shorey) and Baawla (Amit Sial) - can beat up drivers and steal their cars. The title character, Titli (Shashank Arora), is the youngest son in a family of thieves. Though well-made, the story’s grim tone and visceral elements make it hard to watch. Titli is not for the faint-hearted as it not only introduces you but makes you feel a part of the family that gives you the creeps.Titli (“ Butterfly“) is a film that is much easier to appreciate than it is to enjoy. Production designer Parul Sondh manages to transport you to the dingy backyards of old Delhi.
A saga of caged emotions and deceiving people that exude ruthlessness, Titli works as a documentary-style psychological thriller that evokes panic and discomfort.Īll the actors do a commendable job but it is Ranvir Shorey who is most effective. It explores our modern-day opportunistic and exploitative tendencies. Brutally real, Titli is essentially a disturbing tale on deep-rooted frustration and a sense of worthlessness that stems the criminal culture in India. They are not one-dimensional, which makes you empathise with them despite their eccentricities. Morally ambiguous initially, it’s the flawed characters that make this noirish crime drama compelling. She secretly harbours her own set of dreams. In order to clip his wings, they get Titli married to naïve but headstrong Neelu (Shivani Raghuvanshi). With no steady income at hand, the family unapologetically resorts to crime. The father on the contrary, nonchalantly watches his elder sons partaking in nefarious activities, as long as they put food on the table.
Titli (Shashank Arora), youngest among the three, aspires to distance himself from his indignant brothers (Ranvir Shorey, and Amit Sial) owing to their dubious behaviour.
Revolving around three brothers, reminiscent of our society’s patriarchal hooliganism, the drama plays around with your mind in varied ways.
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