At an early stage in the film, when Shaurya is moving to his new apartment, he tells his roommates that he is going home for a few days. His disinterested roommates are watching World of the Wild on a channel called Wild TV. The host of the show, a man inspired by Steve Irwin, is explaining ways to survive a difficult situation. He can be heard saying, "Never give up. Adventure is not about what happens out there. It is about what happens in here. The brave survive. The weak, they die." These lines effectively capture the film's theme and will ultimately become the motto that helps Shaurya survive his ordeal. His entrapment in the apartment is just like an adventurous encounter, as if it is another episode of Man Vs. Wild. The wilderness, though, is his own apartment which turns out to be as intimidating as a wild creation of nature. At a later stage in the film, the host again shows up in a hallucination of Shaurya. The host tells him about Charles Darwin's theory of the survival of the fittest—the principle of natural selection, postulating that those who are eliminated in the struggle for existence are the unfit. During the last few scenes, Shaurya is again watching the same TV show when he is eating paav-bhaaji. The host tells him the famous Nietzschean quote about the abyss and gives his own version of it. He says, "When you look into an abyss, the abyss also looks into you. But what I say is when the abyss looks at you funny, punch the abyss in the face." The TV host's sayings become a guiding force for survival. And, as he advised that the brave survive by never giving up, Shaurya never gave up and survived. Even the film's poster says, "Freedom lies beyond fear."
What is also noteworthy is the film's portrayal of irony. The word shaurya means courage, and ironically, the character Shaurya gets scared by hearing the squeaks of a rat. Perhaps, that is why we see a cat drawn on the door of his room. The building where Shaurya moves is named Swarg Apartments. Swarg means heaven, and ironically, his stay at the apartment will turn out to be not a heavenly experience, but something closer to hell. When Shaurya enters the apartment, there is a 'Welcome' sign written using decorative paper strips. As it turns out, this welcome would be so nightmarish that he won't even be able to get out. At a later stage, when Shaurya is hungry, he eats the remaining few pieces from the pack of biscuits he had brought along with him. We see that it is Good Day; as if there could be any other brand so befitting to ironically depict how his day was going.
There is another moment in the film when Shaurya is lying beside a cockroach. The cockroach has turned upside down and is struggling to get back on its feet. He tries to help the cockroach, but somehow, it manages to turn itself back on its own. Shaurya keeps watching the cockroach's struggle, and then, he also decides to get up on his own feet; perhaps, getting some inspiration from it. At a later point, he sees the cockroach at the same place but it has died. It is seeing the cockroach in that state that he realizes that he, too, will die there. But he does not want to die, so, he gets pumped up to get out of the building.
Trapped also reminds us of other survivor dramas, such as 127 Hours and Life of Pi. But, somehow, the one film that kept coming to my mind was Room. Based on the novel by Emma Donoghue, Room is the story of Joy and her five-year-old son Jack who live in a shed they call the Room. Joy and Jack are captives of a man they call Old Nick, Jack's biological father, who abducted Joy seven years prior and routinely rapes her. Once a day, Joy and Jack scream as loud as they can, hoping that someone can hear them. In Trapped, Shaurya, too, tries every trick to make his voice heard, but as he says, no one can hear him, or pretends to not hear even if they can. In Room, after Joy and Jack are released, they go for a visit for one last time to the room where they had spent seven years of their life. When Shaurya manages to escape from the building, he also visits the same apartment where he was trapped. Perhaps, as a way to gain some closure or as a reminder of something that changed the course of his life forever.
Suketu Mehta, in his book Maximum City: Bombay Lost and Found, writes, "All great cities are schizophrenic said Victor Hugo. Mumbai has multiple personality disorder." There is a certain romanticism associated with the city of Mumbai, and it is often called as the city of dreams. But there is a darker underbelly associated with the city, too. Trapped shows this other side of Mumbai—harsh, uncaring, and aloof. People don't listen to you. People try to scam you. Since every inch of horizontal space has been occupied, it can only grow vertically. And, as it moves up vertically, it becomes even more and more distant.
The scenes about the food choices and beef ban seem a little out of place in the film. It was making a political point as well given the recent news regarding bans on certain food items. The sequence where it starts rain raining, and where Shaurya talks to the rat are some of my favorite portions in the film. I was also intrigued by the relationship of Shaurya and God. Shaurya was a God-fearing person. He took the picture of Hanuman with him to his new place. He does not eat non-vegetarian food because he feels it is not right. In the end, he keeps staring at the picture of Radha-Krishna when he is about to eat paav-bhaaji. I kept thinking what was going on in his mind. Did he believe in God anymore given the ordeal he went through? He never ate non-vegetarian food and still this happened to him, so, did this change his belief in having a moral code? Or, was he just thanking God for getting out.
Vikramaditya Motwane's earlier films—Udaan and Lootera—also exhibited the theme of entrapment, both literal and metaphorical. The word udaan, which means flight, can be described as the antonym of the word trapped. In Lootera, Pakhi thinks that her life is trapped in the last leaf of a tree as if it is a tota (parrot) from the Bheel Raja ki Kahaani that her father used to tell her. At a surface level, Trapped is about a man getting trapped in an apartment, but the film is also about other entrapments. Five minutes in the film, Noorie tells Shaurya that she is getting married to some other guy. Immediately after this, the film's title Trapped appears on a black screen as if hinting that this is the beginning of some kind of entrapment. I remember reading a piece by Priya Ramani on Tanu Weds Manu Returns where she had written about Tanu. She had explained, "When she (Tanu) leaves him (Manu), her relief is palpable. Her curly hair, tied in a bun, comes undone. The film-maker probably meant it to symbolize her return to her wild former self but as a fellow curly-haired person, I can guarantee it was as much about the respite of not being around Manu." Interestingly, we see a version of it in Trapped as well. Noorie has her hair always untied when she and Shaurya are seeing each other. However, in the last few scenes, when she comes back, her hair is tied in a bun, not only as a mark of her being married but also as another symbol of being trapped in relationships, like the film's theme. The end credits say that the property dealer's name was Hawk McNab as if this another kind of entrapment where the dealer was like a hawk waiting to trap Shaurya as his prey.
Trapped is also about our entrapments and the loneliness of the modern day city life. We have become slaves of technology, living in our own cocoons. In the wonderful opening lines of Lage Raho Munnabhai, RJ Jhanvi summarizes it beautifully. "Internet se duniya me toh touche me hai, lekin pados me kaun rehta hai, jaante tak nahi. Agar yahi jeena hai, toh phir marna kya hai." We are trapped in relationships; trapped in the daily mundane routine; trapped in the struggle to make a living; trapped in the rules of the society; trapped in something we are not (as we saw in Tamasha). In the film's very last scene, Shaurya revisits the apartment where he had been trapped. He is looking out of the window from where he escaped and the shadow of the railings falls on his face, giving an illusion of being trapped. He goes away and the film ends with the shadows as if telling us that we may think we are free, but it is an illusion and we are still trapped in something or the other.
Dialogue of the Day:
"When the abyss looks at you funny, punch the abyss in the face."