Sneha Jaiswal (Twitter | Instagram)
When a male sex worker is found brutally murdered at a local railway station’s public toilet in Mumbai, a retired journalist finds himself pulled into the investigation when his college-going son becomes a potential suspect. Things only worsen when more murders occur in connection to the same case.
Based on the novel by the same name by Jerry Pinto, the 2024 series “Murder in Mahim” has been directed by stars Vijay Raaz as Mumbai cop Shivajirao Jende who is in-charge of the murder investigation, while Ashutosh Rana plays retired journalist Peter Fernandes, who begins his own probe into the case to clear his son’s name. Coincidentally, Shiva and Peter, who happen to be estranged friends, also get an opportunity to reconcile their past conflicts while dealing with the case. Directed by Raj Acharya, the show is a slow-paced thriller that steadily unravels a complex web of multiple murders intertwined with an extortion racket.
Episode one begins with a dimly lit scene, where a young man called Proxy solicits sex at a public toilet and is gruesomely killed by a hooded man. Before the police can even get a decent lead on Proxy’s case, his friend, another gay sex worker, is also found murdered, triggering a media backlash over the investigation. Over the course of next few episodes, Shivajirao Jende and his junior Firdaus Rabbani (Shivani Raghuvanshi) try to gather enough clues to nab the culprit, but find themselves clutching at straws. It’s only when Peter Fernandes starts to put his investigative journalist experience to use that more concrete clues begin to appear.
While the first three episodes are gritty and well-paced, the tension and mystery eventually keeps getting diluted. The slow pace of the show, coupled with the juvenile approach of the cops to the case, make some chunks of “Murder in Mahim” a challenging viewing experience. For instance, when the cops eventually make an arrest in the case, they fail to conduct a thorough search at the suspect’s place for evidence. Surprisingly, it’s the journalist who ends up doing more groundwork than the law enforcement officers. If the intention was to depict the police’s lackadaisical attitude toward the case, it would have been understandable. However, there’s significant pressure on Jende to solve the mystery, and the cops are portrayed as sincere.
The cinematography of the series adheres to the staple elements of noir-style films, characterized by dimly lit scenes and shady settings. The creators skillfully depict class divisions and economic disparities among characters through their living spaces and neighborhoods. For instance, the honest Jende resides in a modest two-bedroom apartment shared with his wife, son, and father, while his corrupt junior inhabits a flashier flat, hinting at illicit income from bribes. However, some camera angles, such as unnecessary zoomed-in shots of characters’ faces during dialogue, prove distracting. Furthermore, the background music adds little to the storytelling or the gritty atmosphere of the narrative.
The timeline of “Murder in Mahim” is set before the decriminalization of Section 377 of the Indian Penal Code, which deemed consensual sex between individuals of the same sex as “unnatural” and punishable by law. The series dwells into the honey-trapping of gay individuals, and the prejudice, abuse, isolation, rejection they face from those around them. Its two lead protagonists – Shivajirao Jende and Peter Fernandes – one a tired cop, the other a retired journalist, are both heterosexual family men, who also hold biases against the queer community, but the murders make them look at queer individuals beyond the lens of superficial stereotypes and misconceptions. “Murder in Mahim” earnestly attempts is to prompt viewers to reflect on the significance of equal rights for all citizens, irrespective of their sexual preferences, and the psychological, emotional, and physical harm caused by the absence of these rights.
Vijay Raaz is pitch-perfect as the angst-ridden Mumbai cop Shivajirao Jende, while Ashutosh Rana takes some time to slip into the skin of his journalist character, but once he does, the two of them make an engaging investigative duo. Divya Jagdale, portraying Peter’s wife Millie, delivers a relatable performance as a concerned mother when their son Sunil (Rohan Verma) becomes a potential suspect. Like typical Indian parents, the Fernandeses are more concerned about whether their son is gay than the possibility that he could be a murderer. Shivaji Satam of C.I.D fame, has an amusing cameo as Shivajirao’s father Dhular, a disgraced former cop who shares a fraught relationship with his son. Rajesh Khattar portrays the flamboyant Leslie, Millie’s queer cousin, who aids Peter in understanding Mumbai’s queer culture. Unfortunately, his character is underdeveloped, lacking the depth and exploration needed for proper characterization. Ashitosh Gaikwad is riveting as Unit, a close friend of the first murder victim, who is often harassed by the cops over the case and for being an impoverished sex worker.
“Murder in Mahim” meanders through various issues, often focusing on family conflict, which are usually somber in tone, and sometimes manages to deliver subtle humorous moments. However, the series does manage to keep viewers guessing about the murderer’s identity and motives. Given the slow build-up to the finale, the big reveal lacks the revelatory impact one would expect and the murderer’s portrayal turns out to be the weakest link in the tale. I haven’t read Jerry Pinto’s original novel, but if the show writers have been faithful to the original source material, than the climax is quite disappointing, including a little health-related twist which was just problematic. One would’ve expected more nuance from a show based on a novel by an acclaimed writer.
Despite its flaws, “Murder in Mahim” is made watchable due to its lead performances, and its ability to maintain suspense and confusion over who is carrying out all the murders in the city.
You can stream “Murder in Mahim” on JioCinema.
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