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       Having explored with finesse the world of Page 3 and Corporate, Madhur Bhandarkar has a hard and painful look at an important juncture in the life of an individual. Life comes to a momentary halt when the signal turns red, dreaded by some and savoured by many.

        Looking for some easy pickings are the small-time criminals while deals are struck by the harlots in those fleeting moments. Beggars look for some means to short change their fortunes while there is a price to pay for the ones not corrupted by the system.

        It is said that the city never sleeps. One gets an ample evidence in the way Bhandarkar has shuffled his characters. Like playing in an open field, the director has mindboggling options to showcase the grey areas. There is a place for everyone to eke out a living, he says with great deal of conviction.

        Traffic Signal is a story woven around the mother of all signals. The plot zeroes on an orphan, having his first taste of life at the signal. That is the only world he knows but at the end of the day has an experience which has to be felt rather than narrated.

        In the mundane walk of daily life, the do-gooder runs into all kinds of people. Caught in between the world of mafias and politicians, he has no clue to the nexus. By a quirk of fate, he is thrown into the bigger dice, unaware of being used as a pawn.

        Like the message in Chandni Bar, the show has to go on. Bhandarkar gets it mighty right, as he has always been. After all, the man is at home territory.