Human life is invaluable or human life has no value—depending on where and to whom you are born. This is the nasty truth that Mardaani 3 takes a stab at. Of course, there are other systemic issues it battles through its righteous cop protagonist, Shivani Shivaji Roy. It attacks the rot that is the beggar mafia and the police force's role in fostering it. It even comments on capitalism. Yes, it bites slightly more than it can chew. But only slightly, not enough to cause indigestion. But also, enough to take the edge off its impact.

That it raises a philosophical question, even if in passing, is a bonus.

Mardaani 3 revolves around the kidnapping of two 8–10-year-old girls. We quickly find out that they are sold to a dreaded group. We are kept in the lurch about what is to happen with the girls. The wait is brutal. Always fearing how much worse must reality be. However, the wait for the real deal is so long and unnerving, that it slightly blunts the villain's gross and despicable purpose. Strangely, it is not what we expect. And yet, despite its ruthlessness and unpredictability, the blow lands softer than anticipated.

Interestingly, it is neither the performances nor the scene-by-scene or sub-plot by sub-plot writing to blame. Rani Mukerji has matured as Shivani has grown to own her space. Mallika Prasad instils fear much like her predecessors in the Mardaani series but it becomes overdone and a tad unbelievable as her character's weaknesses are exposed. I will leave the rest of the cast out to avoid giving away spoilers. But, despite the twists, none of them leave a mark. I doubt we will remember them in episode 4.

Also, some of the situations and their flow keep you engaged and at times, even at the edge of your seats. This is despite loopholes such as smart people who are in the business because they cannot be tracked, not realising they are being followed. Otherwise vigilant people, on both sides, suddenly trusting other people. And so on. However, the other things in the movie are gripping enough to make you let go of these quibbles.

The problem is that the overall story loses steam after the biggest reveal. Not to mention that the characters become less and less believable. I sense that the makers knew this, which is why it comes so late in the movie. They want you keep imagining the grotesque things that happen in such rackets. Unfortunately, it works against the plot.

Also, the over-dramatisation of some scenes is jarring. So, is Shivani's know-it-all behaviour in the beginning which settles down as the movie progresses. In the big picture though, I will take a decently made film about a serious social issue over none at all. That it does so without breaking into song and dance is treating me with respect. That it serves as a break from the war films on circuit is a welcome relief. That it raises a philosophical question, even if in passing, is a bonus.

The question of human life as collateral damage for a better cause is one of debate for some and absolutely crazy to others. It is human life; any damage is damage enough. Versus, if "sacrificing" a few does greater good, then it is ok. The latter proposition is easy to test by putting the believer's dear ones at stake, amongst the few to be sacrificed. Nevertheless, Mardaani 3 puts up its own version of the Trolley problem. But we know its stand from very early on. So, there is no room for the audience to mull over their opinion.

despite its ruthlessness and unpredictability, the blow lands softer than anticipated.

Which also means the pacing of the big reveals is a bit of a question mark. One comes a little too early and the other a little too late. If I were allowed to think a bit in this film, and series even, that is putting all its heart in trying to make meaningful cinema, I would feel a little more invested. That I felt my heart pound earlier in the film and not so much towards the climax is also a sign. But considering the films made these days, that my heart pounded at all means the film got a lot right. And that is enough. That this subject is getting attention, even if in films, is something better than nothing.

- meeta, a part of the audience