Berlin review: This masterful slow burn is a lesson in minimalism, elevated by in-form Ishwak, Aparshakti, Rahul Bose

Director: Atul Sabharwal

Cast: Aparshakti Khurana, Ishwak Singh, Rahul Bose, Anupria Goenka, Kabir Bedi

Where to watch: Zee5

Rating: 4 stars

It is the age of Indian films that remind you of recent-yet-iconic British TV shows. If Kareena Kapoor’s The Buckingham Murders (also releasing today) is an ode to the genre that has given us Broadchurch and The Mare of Easttown, then Zee5’s Berlin is right in the ballpark where Criminal played. The investigative spy drama is largely set in an interrogation room with much of the conversation taking place in sign language. But as far as slow burns go, Berlin is a winner, as it combines crisp storytelling with good performances, and classic world-building. The end result is a novel thrillr, the likes of which Indian cinema could do more of.

Berlin is the story of Pushkin Verma (Aparshakti Khurana), a sign language expert, who is drafted by the ‘Bureau’, one of India’s two spy agencies, to help interrogate an alleged Pakistani spy, who is deaf and mute (Ishwak Singh). Pressured by the investigator Sondhi (Rahul Bose) and pursued by the rival agency the ‘Wing’, Pushkin finds himself between a rock and a hard place, as he attempts to solve the mystery of Ashok and his link to the shady Berlin Cafe.

Berlin is not the routine edge-of-your-seat thriller. Yes, there is a mystery at its core but the narrative unravels it slowly and gradually, giving the viewer time to get familiar with each character, their quirks, and their personalities. Director Atul Sabharwal masterly recreates the Delhi of the early 90s with its retro-but-not-yet-vintage feels. And the city does feel like a character and not just a setting in the film.

Berlin has a noir feel to it. The elements are all there. An unpredictable suspect, a hot-headed investigator, the hint of a femme fatale, rival spies, and of course, a clueless-but-righteous protagonist with unquestionably high moral fibre. That the director manages to make all this fit together in a believable manner is quite an achievement in itself. The dark tone and the grim setting works to make it all even more effective.

But Berlin’s true victory is in its human interactions, particularly the ones between Pushkin and Ashok. Ishwak Singh is yet again splendid in a role that is completely different from anything we have seen him as. As a mute person, he has no lines and emotes simply with his face and hands, still managing to bring a conversational quality to his acting. That is testament to how well he has adapted to the role. At the other end of the table, Aparshakti shows how he is continuing to get better. If Jubilee was his announcement to the world that he can be the protagonist, Berlin is a reaffirmation. And the cherry on top is Rahul Bose, the man who has so seamlessly accustomed himself to playing grey and despicable characters. To anyone who has watched him in the 90s, this is quite a change. He oozes authority and desperation at the same time, stamping his authority on the canvas.

Berlin works because it is a good story told well. The setting, the premise, the twist, everything is novel and organic. There is newness to the plot that sets it apart from Indian spy dramas. Yes, it does resort to clichés time and again but they never appearing jarring and do not throw you off because these templates and tropes are also very much necessary. Berlin is a much-needed film for Bollywood and for the audiences, who have always asked for ‘good content’. Well, here it is!

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