Sarkar Raj

 

 

If there is anyone you pray for, as you wait with bated breath and fingers tight around the multiplex seat, it is for RGV, ardently hoping that he strikes the Satya form. The first few scenes generally set the tone of a movie and by 10 minutes one generally knows the genre of the movie and its pace. Sequels rarely work and there is a reason. There is very little of surprise element left and it is a very strong storyline that has to work for sequels. And one is left very disappointed with Sarkar Raj after having carried strong impressions from the effective promos.

 

Sarkar Raj carries forward the base story line of the Nagre’s from its prequel Sarkar. Sarkar packed quite a punch considering its realistic proximity that we would like to believe, to a politician’s family. The first thing that puts you off from the film is not its actors or lack of story line but a camera that seems to relish in lurking behind inanimate objects, popping up from behind pots on stoves, popping right unto the frying puris (the cooking ensemble lost its charm in the first film) mostly becoming an irritating obstacle in between the audience and the actors. What was he trying to do? Make up for lack of emotions by hiding the expressions? As a novelty a frame or two is ok but not when the entire film is shot in claustrophobic close-ups almost entirely eliminating need for props and set and even dress designers.

 

The second thing that lets this film down is the intentional lack of lighting. Badly lit films indeed do represent the underworld genre of Hollywood films. But not when they make the biggest politicians in the city‘s house look like a haunted powerless house. The photography is intentionally pathetic. Playing with lights and shadows is ok as long as they do not take over the entire premise for lack of a strong story. If the need for power as the story goes is felt it is more on the sets of the film than in the state.

 

The film actually makes one feel like watching a behind the scenes add-on in a DVD for Sarkar. So many monotonous discussions and drama like debates between badly lit characters in depressing sets. The production values are actually tacky.

 

The story, not much of it there, continues with the Nagre's tryst with Maharashtrian politics and relates to an issue of bringing a power plant to the state which becomes the platform for succession politics. Obviously the characters and the story line reflecting reality are purely coincidental.

 

Aishwarya is an entrepreneur who is given charge of setting up a power plant running into impressive crores and is advised by unconvincing political goons to seek the powerful family’s help. What happens as they try to and how does their relationship on a personal level develop amidst all the losses is what the film is about.

 

Too many monotonous boring scenes are saved by the ever reliable Mr.Bachchan Sr. and some rare well developed characters like his mentor Dilip Prabhavalkar and his son who appears to have a good dialogue delivery.

 

Characters are a major mix of the outstanding to the worst cardboard villains in Indian cinema. The disappointment of the movie is Abhishek and more because of lack of proper support of the script or the director than his own acting prowress. He just sulks his way through the movie. Kay Kay did a better job with that emotion in the earlier film.

 

If one patiently sits right till the end it is only to watch the greatest actor in Indian cinema ever emote even when he does not speak or move. It is no point in being effusive about a person who is acknowledged as the best ever and he does not need to know it from us. Catch yourself watch him as he embraces Abhishek with his back to the camera and you still end up watching his back emote. That is the power of this actor Mr.Amitabh Bachchan.

 

But one who does need our input is RGV. We know it is all there but the pressure of having to give a hit and FAST is telling. But Sarkar Raj is not innovative nor a good watch. He will have to wait till we can get up and applaud. He needs to hire a good script writer from outside the film industry and try afresh 

 

 

M.R.Navindutt