Originally posted by: pragya0just a quick question when was the last time Taran gave lesser than 3 stars for a movie.
Originally posted by: poppy2009
Lolz...Raja Sen is just as unpredictable as Taran Adarsh!
Just go and read the member's response in Rediff, where he writes his reviews! He is totally hated by everyone! 😆Somehow the movie looks good to me! In anycase, with such an impressive line-up of actors, how wrong can it go?
For a country so rooted in our mythology Raajneeti might be an
intriguing film. What Prakash Jha has done is, he has taken the
Mahabharata and turned it around on its head cleverly. The setting is
India's political scenario and the allusion to the mythological
characters is neat and never overdone.
There is Krishna and there
is Arjuna. We have a dalit Karna and a Duryodhan who is as conniving
and resentful as we know him.
And then there is drama. It oozes out
of the screenplay, spills over into the screen. The tempo is high, there
isn't a moment's respite. Everything is happening all at once and you
need to pay keen attention to keep abreast of all the political mumbo
jumbo strewn around. This was a film that could have gone horribly
wrong. And thankfully it has come out wonderfully right.
The pace
is near perfect. The screenplay is forceful and the story as we may
have mentioned before is as old as the hills. The metaphors are subtle
and never aggressive. If you are going to look for every subplot in the
Mahabharata to be present here, you are looking at the wrong film. The
film uses the epic as a fine bed to slather on its many layers. The core
is right here-of power, politics, hatred, manipulation, conspiracy, war
and ultimately victory. But at what cost?
Raajneeti is a film
that draws you in and keeps you engrossed. This is political seduction
at its best. The characters though derived are original. You have an
Arjuna (Ranbir Kapoor) who is all set to get a PHD and whose thesis is
based on the 'sub textual emotional violence in 19th century Victorian
poetry.' He goes from wanting that PHD to wanting revenge. Ranbir is
light on his feet with this role. He shows no signs of having tried too
hard and yet he leaves a strong impression. Arjun Rampal pitches in a
surprisingly nuanced performance. And are politicians really allowed to
look that good? His chemistry with the film as such and his co-stars is
amazing. Nana Patekar seems to have eased through what could be one of
the most restrained roles of his career. His presence is strong yet
never obtrusive. Manoj Bajpai is fabulous. Katrina's casting is a little
mystifying as the role doesn't require a girl with an accent but to
give her credit, she tries her best. And towards the end of the film,
she gets into the 'neta' persona beautifully be it her walk or her body
language. Ajay Devgn as Suraj brings in his trademark intensity. But the
Karna angle of the film is weakest. This is the character you should
ideally feel sympathy for. And sadly you don't. The character is not
etched as finely as you would imagine. Even the face off between Suraj
and his biological mother is tepid and uninspiring. This is the only
weak link in the film. The climax too leaves you wanting a little bit.
It seems a little hurried and clumsy and Suraj's death lacks the
required melodrama.
That said, Prakash Jha is a deft juggler. He
has so many balls up in the air all at once and he maneuvers them all
with enviable skill and dexterity. This is a film designed to impress.
And it does so successfully for most parts. Raajneeti is a war cry you
can't ignore.
Sukanya Venkatraghavan
Director: Prakash Jha
Starring:
Nana Patekar, Ranbir Kapoor, Katrina Kaif
Rating:
All right, I know what you want to know.
No, Katrina Kaif is not
Sonia Gandhi. She speaks Hindi much worse than Mrs Gandhi and though she
plays a widow in the film, she ends up in power, as opposed to the
person who listened to her inner voice.
No, Ranbir Kapoor is not Rahul Gandhi. Or Rajiv Gandhi. Or Sanjay Gandhi. Not unless any of them has ever blown up the car of an opponent, murdered their own kin (he's Arjuna from the Mahabharata you see, so I'm not giving much away), or even come within a week of doing a PhD on the subtextual violence in 19th century Victorian poetry.
And no, Bhanu Pratap Singh's family is not the Gandhis. Not unless any of them has had a dalliance with a revolutionary, had a brother who lies paralysed in hospital and another who was shot dead in a staged traffic jam. And I know, I know, I will sound like an aunty, but it's not a bad thing that the CBFC snipped off some sex. There's quite a bit of it already for a movie graded U/A.
But folks, what a movie.
Prakash Jha is a filmmaker who
concentrates on the story. Follow the characters, all else will fall in
line. It does. It's an absorbing palette he draws for us, straight from
the Mahabharata. There's Bhaskar Sanyal, the revolutionary,
played by Naseeruddin Shah, who is Surya. There's Brij Mama, the wise
counsel, played by Nana Patekar, who is Krishna. There's Prithvi, the
hotheaded challenger played by Arjun Rampal, who is Bhim. There's Samar,
the calm, focused younger brother, played by Ranbir Kapoor, who is
Arjuna. There's Manoj Bajpayee as Virendra Pratap, the scheming
Duryodhana; Ajay Devgn as Sooraj Kumar, the illegitimate son, Karna; and
yes, Katrina Kaif or Indu Pratap as Draupadi. Who's Sarah Thompson?
Well, she's just plain Sarah, with an accent that oddly matches Kaif's.
It's a film often brutal and quite violent, in its sex scenes as well as gunslinger scenes. There's a man caught in bed with another man, a woman felt up by a man and brought to orgasm in front of a mirror, a shower scene and even a bed scene, done tastefully keeping Kaif's A-list status in mind. Jha doesn't believe in sparing the sledgehammer. Car bombs go off, shootouts take place in deserted garages, enemies are axed. The dialogue doesn't spare anyone. "Hamari roti unse nahin chalti. Unki roti hamse chalti hai,'' says Devgn, the kabaddi champion and driver ka beta turned Dalit neta. Chief ministers drive around in Mercedes, the financier's daughter coasts along in a Lexus convertible, dreaming of the day she will become the youngest minister in the state with a lal batti, the mother is always in the kitchen fixing breakfast and the girlfriend is always clingy.
Everyone will do anything to get a ticket. Sleep with a rising politician, align with an enemy, sup with the devil. There is not much effort at subtlety but not much is needed. This is a landscape that is dipped in tomato sauce red blood. It requires the purple rhetoric to match it. Rampal, sniggering at an arriviste, says: "Raajneeti ko public transport ki bus samjh rakha hai, haath dikahaya aur chad gaye?'' "Musalman muthi nahin kholega abhi," says a Muslim leader to the Krishna-Arjuna-Bhim triumvirate. "Power paida karen hum log, aur button unko de? Yeh videshi candidate band karne hoge," says Devgn's character to the people of his basti, Azadpur.
Samar, part Arjuna, part Michael Corleone (down to an accident with a
car bomb which I cannot give away), is the central fulcrum on whom the
movie rests. He is watchful, silent, allowing his rage to grow. There he
sits smoking, playing chess on his BlackBerry, with a chessboard on the
wall (I did say that Jha likes to underline everything), and plots, and
plots. He plots selling his brother to the businessman to finance the
election, he plots the rival Kaurava endorsement of Prithvi at a public
rally, he plots the downfall of Duryodhana, and he plots the victory of
his family. That's the leitmotif of the movie: family above all and the
family firm above everything else. Kapoor is excellent as the thoughtful
Samar, who waits for the dominos to fall, seeing every scenario unfold
in his mind's eye, journeying into the heart of darkness.
What is
Kaif doing here, with her Donald Duck lips and her accented English?
Waiting to transform into a widowed martyr, who asks the voters to dry
her tears. It's only then that she comes alive. Jha could have done a
lot of things better. He could have done with less clunky scene between
Devgn and his mother, Kunti/Bharti (played by newcomer Nikhila Trikha)
confronting Karna after all those years. He could have avoided the
too-tidy dialogue between Kapoor and Kaif at the end. He could also have
snipped even the brief item song entirely. But those are minor
quibbles. This is an ambitious film, which manages to say much about
politics today. Yes, it does bring out the shaitan (devil) in men. Yes,
the poor do want the government to be liberated from its self appointed
responsibility to "remove poverty", which is just another name for
corruption. Yes, it does show that identity politics has only deepened
with development, not become less virulent. And yes, it shows that money
matters, always.
For its stirring lines (raajneeti main mudde gade nahin jate, zinda rakhe jate hain-issues are never buried in politics, just kept alive), its powerful confrontations, and more twists than in the road to hell, this is a film that will engage you and entertain you. Prakash Jha and Anjum Rajabali take a bow.
And yes, Ranbir Kapoor, you too. It's a performance that is studied and yet so spare.
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