Sherni (2021) Film Review
“Any glimpse into the life of an animal quickens our own and makes it so much the larger and better in every way.”John Muir
Aware about the scents, the dancing shades and the quiet breathing sounds of the jungle, the tigress moves knowing with certainty that the world is unpredictable.
Familiar with the idea of freedom and boundaries, she has learnt to cooperate.
For the tigress to become a man eater it would mean that either she crossed her boundary or a man crossed his and then if we shed light on their reasons, we will see some simple similarities and some dark differences.
Sherni is a brilliant 2021 film written by Aastha Tiku and directed by Amit V. Musurkar. Displaying the bare truth, in all its rude capriciousness and glory, the narrative builds a powerful unsolved puzzle for the viewers, unsolved but thoroughly engaging.
Through its veering route it takes the audience on a safari tour, one where we wish wholeheartedly to never get a glimpse of the tigress for the gunned men accompany us.
The film raises questions and leaves us with hints to, collectively, as a society, solve this puzzle and be aware about our roles.
Vidya Vincent, the protagonist, is a newly appointed forest officer who challenges the status quo from the start just by working efficiently. The apathetic, insincere mood of her co-workers upsets her but doesn’t surprise her.
She tries to stay detached and work for work’s sake, but well aware about her job, about the bridge her department builds between the forest and the village, she never lets go of her sensibilities.
In a bureaucratic leisure loving system, Vidya Vincent walks swiftly and cautiously; in protecting the wildlife, making the villagers aware, dodging the political never ending hoo-ha, she is reminded repeatedly that SHE is weak.
Vidya’s family loves her, but doesn’t fully understand her rather they emphasize the importance of their expectations, underlining insistently for her a daughter-in-law and wife’s responsibilities.
After two fatal attacks on villagers, a tigress is declared as a man-eater; and with elections approaching in that area, this hot topic is smartly used by the two challenging parties to manipulate the trampled villagers and the confused slow officers.
Protecting the composed jungle from the chaotic outer world, Vidya strategises the tigress’ safe return to the sanctuary.
Vidya Vincent, a Christian lady-forest-officer, is a wonderfully layered character; brave and bold but also vulnerable and at times helpless.
Her dilemmas and exigent actions unfold so realistically that even though we get attached to her and wish for her victory, we also see her with an objective lens; and so her struggles, efforts, decisions, plans, victories and failures come across as real.
She wins and loses at the same time in the end; surely the writer here wanted Vidya Vincent to pass on the flambeau to those who would come forward and continue the fight.
Sherni, the adult female tigress, named T12 by the forest department, has given birth to two cubs and is trying to reach a safer place, away from human infiltration, deep inside the sanctuary. It is only through the villages and a mining site that she can reach the sanctuary.
Fierce and vigilant, the tigress doesn’t fall for the forest department’s ploy to catch her. She attacks the villagers who by chance wondered in her area and earns the cursed title of ‘man-eater’.
Protecting and feeding her cubs, the tigress gradually moves closer to the sanctuary.
But because she follows only the rules of the jungle and is illiterate about political chicanery, she misjudges the scent, shade and silence spread that night in the jungle and is shot first and tranquilized later for a hassle free report.
When the cubs dare to step out of the hiding, a few days later, they see a smiling Vidya Vincent staring at them with relief.
After spending generations in the vicinity of the jungle, the villagers inherit many of its qualities. Straightforward and simple yet considerate and calm, the villagers value life.
Though afraid of the big cat, only the villagers can survive as its neighbour.
In the film Sherni too, the boundary shared by the villagers and the wildlife becomes the site of contention. Will the big cat let them survive?
The political parties promise them that they will survive, but only if they vote in their party’s favour, while Vidya Vincent tries to make them aware about the tigress’ behaviour, frequently visited trails and sole goal to reach the sanctuary.
And so some of the villagers support Vidya and end up securing, at least, the lives of the two cubs, whereas the others, who refuse to adapt, get dragged in the pompous parade of the powerful who for this occasion specially invite Pintu the hunter.
The film subtly highlights the essential role that the villagers neighbouring a jungle plays in safeguarding the wildlife. If their interests are also cared for, a harmonious bond could be formed between the two neighbours.
The corrupt and manipulative system that ensnares the boorish, ignorant and weak brings antagonism in the film. The one who doesn’t dare, one who prefers the herd, the guileful, timid and adjusting inadvertently support the dominant.
Vidya Vincent’s office employees and the villagers, who face daily life’s struggles, neither appreciate the new forest officer’s help nor do they agree with the political thugs wholly.
There are divided as a group and easy to control.
Vidya’s boss Bansal, who promotes and supports the men in power, doesn’t wince twice before switching sides; the present MLA, he who is contesting for the post of MLA, the supreme lords in the high ups, Pintu the hunter and his colleagues/ juniors are all his friends; he favours the favourable.
And so Bansal, the sly, the coward becomes the most dangerous creature here.
Pintu the hunter comes across as a stereotypical character unlike any other in the film; he brags from the get-go about how hunting animals is in his blood. His father killed so many tigers and he killed this many; arrogantly he guarantees all that the man-eater tigress will raise man-eater cubs, so the little ones should not be shown any mercy.
Pintu flaunts his rifle in the parade, promising the mad crowd that now it is Pintu VS Sherni and he only knows how to win.
Meanwhile Vidya and her ‘forest friends’ try hard to keep him misinformed and away from the tigress and her cubs. They achieve one of the set goals.
Hassan Noorani, a zoology professor, and his expertise is welcomed by Vidya. Well aware about the village political scene, Hassan always guides Vidya in the right direction.
Volunteering to help the newly appointed forest officer, we see in him another individual who is passionate about wildlife conservation.
Sympathetic and sensible, Hassan contributes greatly as Vidya’s team member, but fails to stand by her side till the end. And this makes him all the more a realistic character; when a lucrative job opportunity calls him to Mumbai, he decides to accept the offer.
On finding T12’s body, shouting out loud that this is a “pre-planned murder”, disgusted and helpless, he leaves.
Jyoti, a panchayat samiti member, is another ally who understands Vidya Vincent’s genuine efforts. She represents the few who acknowledges the link that must be built between the wildlife and villages surrounding it.
Daring enough to counter the politicians, she chooses not to go astray, rather step by step form a better relation with her wild neighbours.
Vidya Vincent’s little kitten, from the very beginning, shows what it means to survive in the “wild” outside the jungle. She adapts quickly, and later, so does Vidya.
“If you pass through the jungle 100 times, you may spot a tiger once but the tiger will have seen you 99 times,” says a forest official in the film. So even though we rarely get to see the tigress here, this game of hide and seek, nonetheless, allows us to feel her wonderfully strong presence.
Not a man eater, the tigress attacks either in self defence or to hunt her prey (a livestock animal); some of the forest officials do testify the same, but the tigress fails to present her case with valid proofs and is unjustly sentenced to death.
Then we run towards Vidya Vincent, hoping that she’ll avenge the tigress’ murder; and she tries her best, saves the cubs, and in return gets a transfer order.
Posted at a Museum of Natural History, she looks after the displayed stuffed animals; a glorious stuffed tiger also poses in one of the glass cages there.
Waiting and watching, patiently, we recognise Vidya’s dilemmas and helplessness, her actions taken silently against bigotry, her tears of joy and pain.
When there is no one left to run to, we realise we are on our own. It is our turn to act now. Sherni leaves us wondering.
The boundaries of a wildlife sanctuary, the walls of our painted homes cannot separate nature from nature.
It knocks on our windows every night when we leave the balcony light on; little insects, beautiful moths are only too determined to remind us of it.
And when we get a glimpse of the wild, maybe when on a safari, taking pictures of the baboons, hushing and shushing each other, dressed in khaki, hoping a show to unfold before our eyes, the tigress sees us from a distance and walks away.
Watch the trailer now –
Story and Screenplay by Aastha Tiku
Dialogues by Yashasvi Mishra and Amit V. Masurkar
Directed by Amit V. Masurkar
Vidya Balan as Vidya Vincent
Vijay Raaz as Hassan Noorani
Sampa Mandal as Jyoti
Brijendra Kala as Bansal
Sharat Saxena as Pintu
- Essentially Gold, The Lavender Hill Mob
- The Source
- In The Sundarbans
- The Knight’s Missing But The Horse’s Here
- Temple Food