Whatever be the fate of B.A. PASS commercially, what Ajay Bahl has done for Hindi cinema is that he has shaken the status quo of enacting the scenes of sexuality and intimacy through his coveted film B.A. PASS, which has been the toast of the film festival circles all around the world. B.A. PASS shocks in the very first scene of seduction where Shilpa Shukla within a moment seduces Shadab Kamal who is playing the role of Mukesh as this is how Cougar happens in reality but has never before been attempted on the screen in the manner in which Ajay Bahl has done it in B.A. PASS.
The ample confidence with which Shilpa Shukla goes through the process of seduction and love making emerges as the highlight for the film and makes it really visceral. B.A. PASS is in fact a saga of lust, deceit and lies, an aspect where an element of shyness could have shrouded the exposition of lust, but the confidence with which Shilpa Shukla devices and lays the plot indeed makes the audience awestruck in the auditorium. It is perhaps for the first time that scenes of lust have been enacted in the way they happen in real life and one also need to compliment Shadab Kamal for the manner in which he has etched out the role of Mukesh, his gradual conversion into a male sex worker, and the poignant moment where he has to solicit male customers to eke out living, and the scars of such solicitation manifest in his clothes seeped in his blood, indeed is a outlier moment for Hindi cinema, as never before has cinema been so candid enough to picturize such scenes. It is the culmination of downward spiral in which character of Mukesh has been initiated into by Shilpa Shukla's character, Sarika, and the ultimate irony of deceit manifests when Mukesh comes to learn that it was his good old friend with whom he used to play chess was sort of a catalyst in pushing him into this world of darkness.
Ajay Bahl having lived in Paharganj, outside New Delhi railway station has brought out its hidden crevices, for which Pahargunj is notorious in a very poignant manner, and it has come out so, as Ajay Bahl has done the cinematography for the film himself. It is the magic of Ajay Bahl that he could picturize the gory scene where Sarika is raped by her husband as a revenge for her amorous ways in front of Mukesh. Shilpa Shukla as a femme fatale is ravishing, oozes of raw sex and even then brings out a quotient of desirability in her character with rare finesse.
What would perhaps do for B.A. PASS is that it does not give value judgments and lessons of morality as answer to this malice of society but just present a picture of how the situation is panning out, leaving the audience to grope for the answers themselves.
Now that Shilpa Shukla has raised bar, one hopes that more such gripping tales would form a part of the cinematic oeuvre, more so with this combination of Shilpa Shukla, Shadab and Ajay Bahl.