Rang De Basanti
This review was written the same day I saw the film, which was on 4th February. But seeing the overwhelmingly positive reactions for the film didn’t have heart to publish it. Till the time I told Anubha about its existence. She reprimanded me for not putting it up and reminded me that on my blog I had complete right to write whatever I felt. True, perhaps I have been playing to the gallery quite a lot, and taking ‘the popular’ tag a bit too seriously than warranted. Thanks Anubha for the reality check!
Blame it on the huge expectation – but fact is I found Rang De Basanti just about ok, a different film, but just about that. Somehow it couldn’t involve me into its narration. There were too many incoherent details which left me cold – some were minor quibbles regarding Delhi’s depiction: why the hell did Sonia (Soha Ali) take Sue via Red Fort if they were going to University from Delhi Airport? There is a much shorter and convenient route! And then, that was clearly not anywhere close to Delhi University for sure! It was India Habitat Center passed off as DU!
Even though Rakeysh Mehra struggles to deploy a conventional story telling format, he is unable to fully discard the now-standard jump-cuts and fast-track editing styles; at few crucial points these neo-modern techniques crop up horrifyingly. The post-interval lathi charge scene is one prime example. Instead of gripping the audience in a tight-fist and knocking a solid punch, he shows a collage alternating between slow-motion and hazy movements with a dull song in the background. The entire sequence’s steam, whose build-up begins with Ajay Rathod’s death, dissipates away like a pressure cooker rudely taken off the burner!
The transformation of youth doesn’t come around neatly. I kept thinking of Ashutosh Gowarikar’s Swades, and how he had handled Mohan Bhargav’s transition smoothly! Here, it is erratic and abrupt. Also, in Swades the awakening is not linked to personal tragedy, making it more sublime. Here it seems more like those eighties personal vendetta film wearing a neo-modern cloak!
The story is interesting – but the climax is very shoddy: it takes away the entire thrust of the film’s message. Here, I am not talking about the defence minister’s too-easy-to-be-true murder, which can be accorded to the director’s creative license. But it’s the death of all protagonists which I could not digest. Does the maker want to tell the youth that if they have to do something for the country they will necessarily be killed? And does it really make the nation rise in protest? Except for a few shots of some students talking to NDTV, which sounded like a storm in a teacup and extremely unconvincing, the film-maker remains stunningly silent on their action’s impact. To me, their sacrifice looked futile. Plus, where did the Commandos come from? And why?
Agreed that Rakeysh Mehra wanted to draw a parallel to Bhagat Singh et al, but shouldn’t the climax have moved away to show the difference of the eras and of the youth, then and now! I feel an intelligent comparison need not be hundred percent overlapping – though the rising could be compared but the end needed much brain which was definitely not put to use. A mature writer draws parallel, brings them to a crossroad, but from there takes it to a separate and higher denouement. And this is where the film fails, and the reason why it couldn’t touch me at all.
Another fact which irked me was Sue’s character – did Mehra really have to use a foreigner to awaken youth-conscience and youth conscious? Is this some surreptitious handshake with old British ideology that ‘it is always white man’s burden’ to take care of Indians? Sorry, Mehra - an upright Indian NGO worker could have made the point more clear and driven home the fact more scathingly – and if Mehra feels that such people don’t exist, sorry he needs to open his wider!
On the plus side – the film gives ample space to every character though it could have incorporated a bit on Soha Ali and Sharman Joshi’s background/home as well.
Performance-wise the film is a topper – Soha Ali is a huge revelation especially after her wooden acting in Dil Maange More. She slips into her character’s skin effortlessly. Sharman Joshi, Kunal Kapoor and Atul Kulkarni live their part with aplomb. Siddharth, who gets maximum footage amongst the supporting cast, is a delight to watch, especially his voice modulation was impeccable (not sure if he has done the dubbing himself!). Alice Patten, with her cute night-class Hindi, is sweet and understated. Madhavan shines in his guest appearance.
But the mother of all performances is given by veteran Waheeda Rahman in her brief but strong role as Ajay’s mother. In one scene, after her son’s death, she is shown walking towards the door – her back is towards the camera, yet her entire body language, the minor tremor, the slight limp as she walks shows a seasoned actor at work! It’s a one small shot, where she is not even facing the camera – yet, she literally walks away with all accolades!
There are some smaller but solid parts – Om Puri, Kirron Kher and Anupam Kher who do their bit fabulously.
AR Rahman’s music is good in parts, though his background score was lacking – the odd sound during Jallianwala Bagh sequence was probably meant to stir hearts, but it shook the ears more! Lata Mangeshkar’s Lukka Chhupi Bahut Hui brings a lump, and that entire sequence is very well handled (though a personal grouse will remain for editing a bulk of Lataji’s portion). Of the other songs, Mohe mohe tu rang de basanti, Paathshaala and Tu bin bataye are ok. In ‘Mohe mohe’ Mehra picks up a few leaves from Yash Chopra’s films and shows flowing mustard fields and pulsating Punjab in satiated sway – given a choice, I’d prefer the tranquil pace of ‘Aisa des hai mera’ from Veer Zaara!
I understand the film is doing very well, and I have only read praise for it – perhaps, I am getting old to enjoy these ‘youthful’ films, but once again I would leave by mentioning Swades – the patriotism, the inner journey presented in that film was far superior to RDB’s graffiti-like cocktail!
Overall: Above average
Also check out: Saba's brilliant review of the same film
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