The Ragga country of Tigmanshu Dhuliya show us the best of the films Subhash Chandra Bose.
A piece of well-prepared speeches and lines that are thought to be on his feet, the stucco can be said to say, ’Do all neophavar, bano fakir’, and dhulia ki bose can be said as equal to the weight of the weight of Indian Indians sitting in the balance As a contribution to the political army, a wealthy patriot took charge of weight.
This boss, played by Kenny Basumatari, will stay away from calling you and will call you back with adoration.
Then Winston Churchill, who watches his own video and is a matter of only one real concern in relation to India: ’Is Gandhi dead yet? ’
In Raga country, we see great leaders walking fast, talk faster and knock themselves on the basis of their meaning.
Even when Dhillia is going, Jinnah is not safe in his picture. A Muslim League supporter comments that if the picture was not catching its pet cigar, then the picture would perform well.
Jawaharlal Nehru asked the prisoner’s father if he wants Nehru to protect his son in court and the father ( Kanwaljit Singh) reminds him that he is not practicing for a long time. Nehru himself shows enthusiasm for Gandhi, makes a quick visit to the jails and pumps the platitiyas.
Raga In the country, Dhulia did not satirize these leaders; He reproduces them in the image of their dreams and their own mentality, in the form of their own comic argument
And we get it: Leaders do not know enough that they are still historical figures and hence the subtle satire of Dholalia really does not come in the form of ridicule. On the contrary, their point of view is the statistics of these textbooks and they get out of the pages.
Although it has been marketed as a patriotic film, the Ragh is indeed a satirical, highly intelligent film that stops many irony and complexity with patriotism.
Look closely and you will see that its major mistake is probably its ambiguous ambition; That it just can not think directly I do not know about you but I think the mark of real art
If there is a natural tension in the film, then it is born from our knowledge that we are watching a director who understands the tone of sensationalism and reversal, but here we are trying to do the subject of patriotism directly.
But Dhuleia is not interested in history with Capital H.
He does not snatch the freedom struggle from his idealism, only gives us personal reading about it.
This film is concerned with the court-martial of Indian National Army officers in 1945 British-Indian Red Fort Trials.
This trial extended the demand for India’s freedom and in it, Dhulia has established us to face the British and Indian nationals.
And the face comes off
An Indian citizen stops a train and asks the passenger to come out. And comes out another Indian, all sworn in the revolutionary cart-stop citizens, apologized and they are called bye to each other on the spell of ’Jai Azaad Hind Fauj’.
The film keeps adding layers of this type, it is very hip and there is such a hassle that when Dhulia finally dedicated the film to the freedom fighters of India, we can think that Whether or not to dedicate their dedication directly to them.
However, Dhulia is serious about his dedication.
A good part of the director goes beyond the most obvious things, but he also has a brain that has been attacked by those cheap 2 Pulp Weeklys.
These two sensations get together, which give many of their films in the form of their pop-shocker quality. I do not think he is called, but Dhulia is actually our best dark satystist.
Whether perhaps Dhulia was attracted to the film, it was very contradictory that Indian National Army officers had encountered during their campaign: They had to kill other Indian soldiers.
However, the number of scenes of Dhulia’s fight is quite wide, and the cinematographer Rishi moves towards the aftermath of the Punjabis war: a shock of dead soldiers who have seen breath in all the shock.
Three INA soldiers in whose trials are the basis of the story, Shah Nawaz Khan ( Kunal Kapoor) , Gurbaksh Singh Dhillon ( Amit Sadhu) and Prem Segal ( Mohit Marwa) . Dhulia, along with scenes from the days of his match, cut the scenes over the coal in the court.
The story of these soldiers trapped by the British-Indian Army and the decision to join the INA is not presented in a huge tone because in Rangoon of Vishal Bhardwaj. We take soldiers’ weight of their options: their patriotism is a matter of discussion and not a reality.
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INA Sepoy, who welcomes him in the new family and invites him to join the army with the Japanese Army, is followed by the Japanese Army and War, and its codes soon become a stupid game!
Dhulia tells us both sides of the fight and brother-in-law.
Performance-wise, the film is a rebellion of superb actors, who have not yet achieved their reasons.
Kanwaljeet Singh is one of three goddesses of Indian Television - Sudesh Barry and Ronit Roy - for my money.
The lions are present in the top form, such as the helpless yet positive father of Prem Sighgal, his performance is an excellent combination of the finishing of the old world and the modern attitude.
Vijay Verma, whose smart-punk-thrower was acting in Pinak, is probably the best thing about that movie, a journalist plays here, and you can not take your eyes off him.
A terrible physical actor, looking for Verma in that scene, where he argues with cigarette in hand with the leaders of the Muslim League - they have the same intensity as the early acquisition of De Niro.
Rajesh Kheda’s Nehru lip chase, half smile and a vertical posture. We know that it is always playing Kheda, as it is a film of patriotism, but Dhulia is established in the land.
Mridula Murli, in the form of Lakshmi Swaminathan, has been imagined in a strange way that her marriage proposal is being interrupted by the advance of the troops. His pronunciation remains on flip-flops but he has a very large presence and a smile that comes without notice.
As Kenny Desai, as Bhulabhai Desai, the lawyer defending the three soldiers is the real star of the film. While his final debate with a sweaty face is played for whistle, the googlya blindly Desai creates a deep-tongued character in which there are many songs: He is one of the old people who do not have small personal fights. Do not forget even when Desai, in the issues of great national importance, sit in an office of old, sleeping lawyer and happy days with a good news To the end: ’Amazing unprecedented. See you tomorrow. ’
Although the actors who do not work on posters, Kunal Kapoor, Amit Sadhu and Mohit Marwa are all very awesome. Seeing all those three together, you get a sense of history. They maintain their dignity even when guided by a prosecutor’s lawyer: Dhulia uses imagery like his own stone.
An inventive shot sequence occurs where Vijay Verma’s journalist’s character emerges from the name of the Dragon Bar, and then behind the place of a radical hideout, leads from a blast site, against the counterfeit protests.
To make one films wonder, to feel some fresh, to understand a new emotion and raga the country is associated with that new feeling. Its real adventure, though, is that it is never talking new things. And when it tries and fails, it is still a great failure
It is one of the best Hindi films of the year.