Poacher review: Series on illegal ivory trade trumpets the plight of elephants

Initially, it feels drawn out, but soon the significance sinks in. We are confronted with the stark contrast between the serenity of the jungle and the harsh reality of human cruelty. In this fleeting moment, we come to appreciate a beauty often overlooked in our lives in a jungle of concrete with hearts of iron. Mehta intends to soften our hearts by the innocent allure of the wild. Just as we begin to connect with this gentle giant, a sudden, jarring noise shatters the tranquility. The image of a bullet piercing through the elephant’s head sears into our consciousness, its eyes slowly closing as life fades away.

A tale of animal poaching: From real to reel

Poacher, obvious from its name, revolves around animal poaching in India, more specifically ivory trade. The eight-episode long web series begins with a disclaimer reminding that India amended the Wildlife Protection Act that prohibited all forms of wildlife hunting in 1991. Based on a true incident, the show takes us to 2015, where a man by the name of Kunjumon Devasey surrendered himself to the forest authorities. Devasey, once a trusted forest watcher, confessed to aiding a poaching ring responsible for killing over 20 elephants. His admission led to charges in 16 cases. Authorities swiftly acted on his information, arresting 74 individuals involved in the syndicate, including hunters, carriers, and ivory traders.

Richie Mehta, the Emmy Award-winning filmmaker behind Delhi Crime, brings his expertise in investigative storytelling to Poacher. In this gripping narrative, Mehta blends elements of a traditional crime drama with an exploration of humanity’s relationship with nature. While the web-series, streaming on Amazon Prime Video, is primarily in Malayalam, there is also a bit of Hindi, and Bengali in the show, which is particularly interesting, because unlike staple cinema, language then isn’t a genre, but simply a reflection of community, and identity.

The story follows a diverse group of people — from forest officials to police officers and compassionate civilians — as they untangle a sinister web of murders and the illicit smuggling of ivory, poached from our fellow inhabitants of the Earth. Field Director Neel Banerjee (Dibyendu Bhattacharya) turns to Mala Jogi (Nimisha Sajayan), a forest officer with intimate knowledge of the region’s villages and landscapes. Mala’s deep understanding of the jungle and its inhabitants makes her the ideal candidate to tackle the unfolding crisis. Subdivision Officer Dina (played by Kani Kusruti) joins the fray when the action shifts to Trivandrum. Despite her relentless efforts to uncover the truth about ivory trader Morris Finn (Amal Rajdev), she finds herself ensnared in an internal investigation, when accused by Finn of wrongdoing during his custody.

Jungle jumbos: The elephants in the room

Meanwhile, the operation takes on a more perilous edge as it becomes apparent that the scope of the criminal network extends beyond national borders. With the aid of Alan Joseph (Roshan Mathew), Mala delves into the intricate web of connections, following leads that ultimately lead to the local mastermind, Raaz (Noorudheen Ali Ahmed). Driven by their shared dedication to the cause, Neel, Mala, and Alan work tirelessly to apprehend those responsible for the heinous poaching of elephants for their tusks. Together, they navigate treacherous waters, determined to bring justice to the majestic creatures and their endangered habitats.

Mehta assembles an effective and able cast, where Nimisha Sajayan imbues Mala with a quiet yet palpable strength, expertly channeling moments of inner turmoil into rage that demands results. Dibyendu Bhattacharya remains the most outstanding as he shines as the officer who must act swiftly. He brings a steely strength, mixed with sensitivity, to the show as he chases the murderers with urgency that stems from multiple reasons. Meanwhile, Roshan Mathew and Kani Kusruti deliver nuanced performances, adding depth and dimension to their respective characters with precision and skill.

However, the real stars of the show are nature and its inhabitants that are gloriously celebrated across several frames in the eight episodes. From a perched owl to a sauntering peacock, as well as deers, tigers, and bats — every creature is brought to life through mesmerizing CGI animation. Yet, amidst this stunning portrayal of nature’s splendour, Poacher occasionally shifts its focus to the humans who observe it, particularly the elephants, who are literally the elephant in the room in this story. Richie Mehta masterfully captures their quiet existence amidst the infinite beauty of their natural habitat, juxtaposed against the disruptive actions of humanity.

A fundamental dilemma

That said, there’s something to be said about Mehta’s filmmaking — intricate, accurate, and deliciously detailed, reflected in his choice to bring Surendra Kumar, former PCCF, and Chief Wildlife Warden on board as a story consultant. Moreover, much like Delhi Crime, Mehta operates with the workings of reality rather than fiction, which means his world isn’t caged in binaries. In Poacher, Mehta crafts a universe where individuals navigate a landscape defined by systemic injustices. Here, villains often find themselves unwittingly trapped in the very same snares they set, shedding light on the blurred lines between victimhood and culpability in a society rife with inequality.

Throughout the show, the filmmaker repeatedly challenges the audience with a fundamental question: should one’s actions be dictated by circumstances or morality? While Mehta firmly advocates for the latter as the correct answer, he skillfully exposes the nuanced complexities of the situation, delving into the shades of gray that characterize human behavior and ethical dilemmas.

The show strategically employs dialogues such as ‘hunters would make for great conservationists’ to provoke introspection among viewers, highlighting the moral ambiguity inherent in the narrative. This notion challenges the conventional understanding that those most familiar with the jungle should be its staunchest protectors, revealing instead how they are complicit in its destruction.

Crimes against elephants, and humans

Yet, Mehta’s indictment extends beyond the obvious, as the integrity of those tasked with upholding justice comes under scrutiny when a detained suspect levels accusations against the forest department, alleging laziness and insinuating that the investigation gained momentum only after his voluntary surrender, owing nothing to their vigilance.

The filmmaker also transcends the confines of the screen, implicating the audience in their own complicity. By repeatedly highlighting the perceived disparity between crimes against elephants and those against humans, he forces us to grapple with our own biases. In a striking scene, Neel Banerjee delivers a sharp remark: “Criminals are criminals, regardless of their trade.” Meanwhile, a Delhi police officer dismissively questions the threat posed by animal hunters to humans. Mala, appalled by such narrow thinking, presents compelling data to illustrate the interconnectedness of all lives.

Alas! it is in this juxtaposition of the perceived severity of crimes that serves as the cornerstone of Poacher’s central message: the intrinsic worth of every life, irrespective of its species. Mehta’s tone throughout is one that feels tormented by the hypocrisy of our selective empathy. While some viewers may have found his previous work, Delhi Crime, more unsettling due to its focus on human suffering, Poacher serves as a direct response to this skewed perspective.