An incredibly cynical but bloodthirsty bootstrapping tale, “The White Tiger” could easily have been renamed “The Rooster’s Cock” given protagonist Balram’s (Adarsh Gourav) analogy that servants in India are basically trapped animals waiting the impending slaughter. But the title comes from the birth once in a generation of the award-winning white tiger, a symbol of Balram’s ability to succeed in a society where his destiny was practically sealed because he was born in the Halwai (candy maker) caste.
At the end of the film, Balram takes his nephew to a zoo where he sees a white tiger in a cage. It provides an appropriate metaphor. Director Ramin Bahrani, who adapted Aravind Adiga’s Man Booker Prize-winning novel, suggests that, as valuable as someone may be, they may still be in prison.
While Balram narrates his story, he talks about the two Indies – one dark and one light – noting that there is a possibility that any poor Indian boy may be prime minister, but also that “no one should be a poor man in a free democracy.” He describes how Indian entrepreneurs should be “direct and dishonest, mocking and believing, cunning and sincere”. Balram, with his hair combed back and ponytail, reveals to be all these things. His ambitions know no bounds – especially after he realizes that the opportunity door is unlocked.
“The White Tiger” returns to show the young Balram (Harshit Mahawar) in his village of Laxmangarh in northern India. He knows English and has promised a scholarship in Delhi. However, his destiny is diverted by his family. Your father is indebted to the local landlord (Mahesh Manjrekar), and Balram must work as a result; he regrets never going to school again. But he keeps learning from the school of life. He discovers that the owner may need a driver and promises his grandmother (Kamlesh Gill) a great fortune if she supports him in driving lessons. He uses his tricks to get a job as a second driver, working mainly for the landlord’s son, Ashok, who studied in the United States (Rajkummar Rao).
The car is (another) cage, of course, but it allows Balram a little more freedom. Once sheltered in servitude, Balram’s resourcefulness helps him find the weakness of the first driver, which he exploits shamefully / shamelessly. Balram is also pleased with Ashok, who sees the poor youth as typical of the untapped Indian market that can benefit (and / or be exploited) by the outsourcing industry in Bangalore.
Balram accompanies Ashok and his wife from Brooklyn, Pinky (Priyanka Chopra, who is also an executive producer) to Delhi, and takes the couple to various engagements. Some meetings involve Ashok handing over cash grants to make up for his family’s tax fraud, indicating that the wealthy are, in fact, to blame.
“The White Tiger” portrays this change in Balram’s luck, with the young man’s wide eyes looking at the skyscrapers and the luxury of the city. There is a tension watching Balram negotiate his new situation. He keeps the car door open for Ashok, who pretends to be embarrassed but gives in, taking advantage of his privilege. Balram enjoys membership privileges, although he sleeps in the garage with the other servants / drivers. The underground network is another system that Balram needs to navigate, but he knows he is better there than in his village, where his grandmother wants him to marry, which would hinder his ambitions.
The astute servant gets close to his Master – they are seen playing video games at one point – but Ashok is fickle and can put Balram in his place. The two actors complement each other well. Adarsh Gourav makes his perceptive flatterer attractive while Balram tries to please the man he should hate. In contrast, Rajkummar Rao (so good at “Newton”, available on Amazon) interprets Ashok as naive. But he looks scary – especially during a drunk visit to Balram’s garage.
However, most of that is the background. The real drama in “The White Tiger” stems from a decision that the characters make after a tragic car accident that occurs in the middle of the film. (It is actually suggested in the opening scene, but Balram’s narrative blatantly insists: “This is no way to start a movie!”) Since the situation is manipulated to benefit the culprits, Balram’s attitudes inform his subsequent actions.
Bahrani’s recent films – “99 Casas” and the underrated “At Any Price” – both featured characters making questionable decisions and behaving amorally for their own benefit. “The White Tiger” continues this trend, but is less aggressive. This may be why Balram humbly asks viewers, in the initial moments, to retain their judgment about him until: “I told you my glorious story”.
What makes this tale of contempt glorious is that Bahrani’s poignant social comment has exuberance even in the darkest moments. The film practically delights in showing how far Balram is willing to go to escape the chicken coop. And “The White Tiger” invites viewers to cheer for a man whose behavior is probably no worse than the corrupt Master he serves.
A revealing scene shows Balram crouching and smiling with a holy idiot as they relieve themselves, perhaps recognizing that everyone is equal on some level. But a more revealing episode shows Balram reacting aggressively to a beggar, showing his pride and rights.
Shrewdly, whenever Balram timidly apologizes for any of his transgressions; he’s really saying, “Sorry, I’m not sorry.” And that is why “The White Tiger” is so captivating. Balram plays on both sides, and Bahrani admires how he cheats the system to get what he wants, even when he punishes him lightly for doing so.
“The White Tiger” is available in select cinemas and on Netflix on Friday, January 22.