Bandra

A budding filmmaker Sakshi hunts for a breakthrough in the crowded, restless energy of Mumbai, wandering through busy streets, tucked-away cafés, and late-night conversations as she searches for a story powerful enough to launch her debut. An unexpected accident punctures her routine—her car is clipped by an old man’s scooter—yet the moment also opens a different kind of door. In a quiet café, she catches a glimpse across the street of the Tulsi Apartment, a building steeped in rumor because it’s linked to Tara Janaki, a legendary star of the 1990s whose ascent and fall in 1993 still spark debate. This image sparks a clear and stubborn idea: Sakshi decides to chronicle Tara’s life and the mysterious circumstances surrounding her death. The project is more than a biography; it becomes a lens into fame, power, and the secrets that surround a public figure. As Sakshi immerses herself in research, she uncovers a trove of stills from Tara’s final film, Rani Padmavati, and among them one photograph captures the old man, Mirchi, in the background. The clue suggests that Tara’s private world still holds truth worth uncovering, and Sakshi resolves to find Mirchi, convinced he knows more than anyone about Tara’s life. This pursuit leads her toward a different coast and a new shoot in Kerala, where the production lands at the home of Aala, a powerful figure whose interest in her work becomes personal after he is smitten by her on screen. His entourage includes his mother, a presence that adds a layer of warmth and protection to the unfolding drama.

In Kerala, the tangled forces around Tara begin to surface more clearly. Thara’s story, as it’s told through her desire to live independently, collides with the control exerted by her adoptive mother and Ragavendra Desai, the producer who holds real sway over her film projects. The Kerala shoot is briefly placid, with Sakshi moving through her days surrounded by people who adore Aala and his circle, but the calm is always precarious. The moment the characters are pulled back toward Mumbai comes swiftly—the “game” is up, and Tara’s supporters secure her return to the city. Back in Mumbai, the last film in Tara’s contract is completed, but Ragavendra Desai blocks any new opportunities for her, pushing Aala to step in with a bold plan: finance a new, woman-centered historical project—the life of Rani Padmavati—so Tara can claim a significant, independent voice in cinema.

To realize that ambitious project, Aala’s shady past becomes entwined with the machinations around Ragavendra Desai and the security apparatus that once watched Tara’s life so closely. The scheme also draws in Veera Raghavan, a former anti-terrorist squad officer whose life has already intersected Tara’s world in perilous ways, linking the on-screen drama to real-world risk. Sakshi’s investigation tightens as she learns a devastating truth: Tara’s death was not a suicide but a murder carried out by Ragavendra Desai. This revelation cascades into direct, visceral consequences. Aala, driven by rage and a desire to honor Tara’s legacy, confronts Ragavendra and erases him from the equation, at least in the story he tried to write for her life. Sakshi then completes the film and releases it as Bandra, a work that reframes Tara’s legacy and invites audiences to reevaluate what really happened behind the star’s luminous public image.

Yet even as Bandra makes its way to theatres and applause swells around Sakshi’s achievement, a new, uncertain hum cuts through the celebration. An anonymous call arrives from Kazakhstan—the voice is Aala, and the message is stark: Tara’s story, and the forces that shaped it, are far from finished. The film closes on a note of unfinished business, a lifetime of secrets that refuses to lie still, suggesting that the last chapter of Tara Janaki’s mythos, and Sakshi’s own quest as a filmmaker, is still waiting to be told. The narrative remains a delicate balance between truth and myth, art and danger, inviting viewers to consider how cinema can rewrite a life while still leaving enough questions to haunt the imagination.

Last Updated: October 05, 2025 at 11:28