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The series is toeing a difficult line: The crime is so awful it’s alien, yet still meant to be emblematic of a larger problem within the city.
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Like the similarly titled but utterly disconnected “American Crime Story” before it, Mehta’s series uses the specific mistakes and grievances to build a broader picture of a city in peril of systemic and cultural issues in need of serious response. Varkita understands the fear in the victim’s voice better because she’s a woman living in this city, in this world, and “Delhi Crime Story” appears ready to explore these elements more in later episodes.įor now, it’s a granular, arresting cat-and-mouse game, where the cats are starving and the mice have rabies. The injustice shown here is extreme, and the prejudice light, yet cultural. Of course, the abhorrent nature of the act (which Varkita describes as “demonic”) certainly sparks its own vengeful thoughts, though it’s notably the Indian women who flash the most anger. So when this crime pops up - in Varkita’s inbox, in the news, and thus on her daughter’s radar - the veteran commanding officer takes it personally. So she makes a deal to show her the safe, good parts of the city during the three weeks before she has to tell the college her decision - if she convinces her daughter Delhi is safe, or at least safe enough, she’ll stay. But Varkita fears if her daughter leaves Delhi, she’ll never come home.
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Her daughter has been accepted to a college in Toronto and wants to leave she hates living in Delhi, complaining that she can’t walk outside after dark and risks getting blatantly felt up on the subway even in broad daylight. She’s also dealing with a not-so-disconnected issue at home. But beware a binge - the story’s potency isn’t easily digested. Detailed, tightly paced, and intense in subject matter and attitude, the dark, shadowy streets of Delhi are captured in vivid, unblinking detail Mehta efficiently introduces a foreign land and makes it relatable, familiar, and terrifying all at once. Inspired by the case files from the riot-inducing 2012 incident, “Delhi Crime Story” (picked up by Netflix out of the festival) tracks a “crime that took the city to the brink,” and it’s easy to believe a tipping point is unavoidable after two episodes. Or, in the case of the Tuesday morning Sundance premiere, they may have left the theater. If he had done it earlier, people might have turned off the show. Only later does writer/director Richie Mehta elaborate on the nauseating actions (officially labeled by the police as “heinous”) taken against the young couple. Though the first scene of “ Delhi Crime Story” shows Indian police officers picking up two beaten bodies, discarded on the side of the road without any clothes, and asking what happened, the explanation given is only half the truth: “Six men got on our bus and beat us,” the man says, wrapped in a bloody sheet. The details of the attack are held back until you can stomach it.