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Orwell’s prediction of the horrors of 1984 would seem mellow compared to what humanity really saw. In Delhi at least, thousands were massacred, families destroyed forever, the scum of humanity exposed, as justice still remains to be served. It’s a disgusting piece of our history that our government, which still employs many of those directly responsible, chooses to conveniently bury. In that context, it is of utmost importance for us Indian’s to look at ourselves through our own personal stories, to re-live the horror we allowed into our society, and hopefully prevent that from happening in the future. “Amu” tells one such personal story.

Kaju (Konkona Sensharma) arrives in India, appearing to be the stereotypical Indian-American in search of her roots, doing the rounds of the exotic side of the country with her camcorder. Adopted at the age of three and raised in Los Angeles by her foster mother (Brinda Karat), she embarks on a journey to trace her past…to find her birth-parents. Along the journey, she finds a friend in Kabir (Ankur Khanna), and together they unearth a shocking secret that everyone seems to know about, but nobody dares to speak of.

Off the surface, Kaju’s journey seems comparable to Amudha’s in Mani Ratnam’s “Kannathil Muthamittal”. However, it is the depth of writer-director Shonali Bose’s characters, and the way she poignantly unfolds the story within the context of the larger issue of the 1984 riots that makes “Amu” such a brilliant, and original piece of work. The dialogs are very real conversations for the most part, the performances superbly spontaneous, and the imagery captivating.

Shonali Bose directs confidently with an articulate personal voice. The environment she creates with her characters is immediately identifiable, largely due to the wonderful performances she extracts from them. Humor is very skillfully used in very subtle contexts through the exposition. How much more can someone compliment Konkona for completely absorbing characters with the dedication that she does? As Kaju, she conveys the desperation of her curiosity so beautifully that we can easily forgive minor flaws like the inconsistency in her American accent. Brinda Karat and Ankur Khanna making their debut are naturals, while Yashpal Sharma and Loveleen Mishra as the Dhaba-owning couple steal the show more than once with their spontaneity.

Be warned however that “Amu” is not devoid of its share of flaws. The pacing can be a little demanding, though only through the first act. Some of the cutting also works against the classical style of storytelling that is employed through most of the film. It could do with a little fine-tuning, for there are the occasional shots that see the camera getting a bit unintentionally energetic, and even one which in its tail, captures a cordoned off crowd watching the shoot from a distance, albeit just for a split-second.

The minor technical glitches do not however distract too much, for the story and characters are so powerful, one remains engaged throughout the narrative. Shonali Bose speaks of the larger canvas through a small and intimate story. When we get to know her characters and feel for their loss, we understand the chilling terror and devastation of the larger picture. The specific details and names of those responsible for the riots are not focused on, because “Amu” never pretends to be an expose or a detective story. The intent to make the audience reflect on the past and each person’s personal role in that past, however disconnected, is very clear. The film ends with news breaking on television of a burnt train massacre in Godhra. And then the camera patiently holds on a shot of a train as it passes by. By the time the image fades out, we understand the argument that had we not followed a tradition of burying the darker chapters of our past, perhaps we could have prevented the bloody riots of Mumbai and Godhra.

Note: “Amu” won a National Award in India in 2005 for Best English Language Film. The film, which has already released in various cities across Canada, released in New York in May, and opens in Los Angeles on June 15.

A trailer can be viewed here: http://www.amuthefilm.com/trailer.htm