Incidentally Prahaar was supposed to be an ’’Art’’ movie but ended up being a huge commercial success. I would never forget the authenticity Nana (Patekar) gave to the character he played. Nana trains a group of Commandos and the movie for most part revolves around the love-hate relationship between the trainer and the victims (the recruits could literally be called so). It also traces the life of one commando in particular, Peter D’Souza, played by Gautam Joglekar who had to leave the Force following a permanent disability. This commando, now confined to his wheelchair returns to his home to find that his father and their family business is under constant threat from the local goons.
Nana is invited to his marriage, with Madhuri. Nana comes with a gift to find that the home is in mourning for the deceased son. Habib Tanvir in the role of Joglekar’s father is compelling. Nana stays back in their house and we are taking through some of the finest moments of cinematic experience, the subdued and tense air of a soldier living among civilians just waiting for that ’one’ moment (which he eventually gets and on which he acts upon), a widow who has resigned to her fate but starts seeing hope in Nana and Nana finding a friend in that widows son.
As one would expect in an Art/ Parallel film, there aren’t many songs, one among them is a simple yet melodious prayer ’’Hamaare hi mutthi mein sansar saara’’.
Prahaar is ruthless and yet not crass. Its one helluva of a movie. There are very few movies so sensibly made. And yes, Nana again incidentally is the Director.