Aligarh the movie, is about rebellion of lyricism. It emphasizes poetry in the face of harshness. Siras aspires for that sweet spot of tender sensibilities where he is in the realm of letters and music. He is committed to stay a rasik. His mannerism, his thoughts and his traction with the world aims for a depth that is erotic, sensual and above all poetic.. He is grateful for the support that he gets from the world but finds solace in his book and music. His relationship with Lata Mangeshkar songs is true manifestation of his determination to stay in his preferred zone of high culture. In one scene, after eviction from his official residence, his first unpacking is the tape recorder and the bottle of whiskey. He valiantly tries to escape to his mood in spite of his situation and mosquitoes. His aesthetic is his defence.
His sexuality is more of an aesthetic mood. Hansel Mehta is sensitive in portraying homo sexuality and places it in more 'normal' scene and doesn't dwell on the 'exotic' aspects of the orientation. He has very successfully captured the fear, suffocation and stress of such a person. However, his emphasis of inviolable nature of private space is perhaps an even bigger theme of the film. Sanctuary of home and bedroom comes out perhaps more clearly.
Mehta has very deftly created a sense of private space in a sparse official quarter and Siras's attempts to carve out such spaces in his temporary dwellings. Dipu too felt violated when his room was overtaken by his landlady (remarkable characters created in very few strokes- mark of a great director.)
Both the key characters have given solid performances. Bajpayee is superb in conveying all the vulnerability and hopes of his character, he is equally successful in depicting deep rooted determination to stay cultured and in tune with the rhythm of his poetic nature. His frailties give an unexpected dignity to Siras. He is confused even harassed but has managed to avoid bitterness. Here lies the beauty of his lyricism which he portrays without making it pretentious.
I will rank Raj Kumar Yadav at the same pedestal in his performance, as Bajpayee. His sympathy can easily appear to be a put on. Bajpayee's Siras is a canvas where only deeply genuine connection will hold. Perceptive professor has no time for false emotions. Yadav does not betray even a remotely false note. Siras's struggle and dignity gets accentuated by the deeply sympathetic filters of pure heartedness of Dipu. He tells Dipu that poetry resides in the gaps and silences between the words. Dipu who is not into poetry, is perfect explorerer of those silences. His sensitivity is deeply humane and he delivers a first class performance in which fondness of the two develops in a memorable fashion. These two unlikely friends needed strong actors and Yadav and Bajpayee delivered.
