There comes every now and then a film that not only succeeds in pushing you out of your slumber but also makes you ashamed of your own inertia, of your own silence. A movie that not only questions your stand but also forces you to take a stand, a movie that forces you to leave the shore and embrace the storm. ‘Rang De Basanti’ belongs to that breed of the almost-extinct breed of films that experiment with the format of commercialism without being preachy and in the process manage to create a product that can be considered a true-blue classic.
The movie works primarily because it forces you to look beyond your cocoon and makes you a part of the proceedings, however reluctant. Through it’s innovative use of metaphors, the movie delves deep into the psyche of today’s youth who are as confused about their state today as they were 20 years ago but with the basic difference that today all the idioms of the past; communism, socialism, religion, independence that could have become rallying points for another generation have all been submerged in the all-complex web of materialism and capitalism.
To a generation that demands instant gratification and I am one of those, the use of forgotten cult figures from another age and era and the attempt to draw parallels in today’s world is commendable and does serve it’s purpose; though the intelligentsia may find it difficult to accept the use of violence as a means to justify the end. However, there appears to be no other option as the film moves towards its climax like a river out of control as it reaches the sea.
Aamir Khan as DJ carves out one more feather in his legendary repertoire. With his infectious charm and cocky attitude, the actor steals the film from under everyone’s nose– just look at him speak to Sue about his personal demons and fears and you can marvel at the actor who adds layers after layers making his characters one of the most real ones etched in recent times. The actor makes for a formidable scorching portrayal and carries the film from one level to another without a hint of discomfort.
Siddharth as Karan is brilliant in his portrayal of a man in search of an identity. His eyes are deep, his silences resonant and his mannerism a mirror image of his internal turmoil. The guy has tremendous screen presence and his every gesture is pregnant with symbolism. The scene where he breaks down in front of Anupam before assassinating him is one of the few scenes that make you sit up and take notice of this actor of extra-ordinary potential.
Atul Kulkarni as the extremist and incorruptible political leader Laxman Pandey is excellent. Watching him recite ‘Sarfaroshi Ki Tamanna” is a treat in itself. Although the couplet has been recited ad nauseum by many a luminaries, Atul stands tall with his rendition. The fierce pride of a patriot, the incorruptibility of a martyr and the deep love of a child are all too well evident. As is also evident the pain of betrayal, the hurt of disillusionment and the final hope for redemption.
Kunal Kapoor as Aslam plays the role of the confused Muslim youth to perfection. As a man, exposed to and in the midst of an identity crisis vis-à-vis religion and nationality, the guy is an absolute natural. The manner in which he reacts to both the arguments of his co-religionists as well as the taunts of the fundamentalists is brilliant.
Sharman Joshi as Sukhi plays his role with consummate ease. The actor does not have as heavy a presence as the other actors but he still manages to engage our hearts with his childlike innocence.
Soha Ali Khan as Sonia is a revelation. The actress is in complete control of her character and plays the child-woman to perfection. The attraction between her and Madhavan is a turn-on as also is the sensual chemistry between her and Siddharth.
Alice Patton as Sue brings a dash of realism to the entire story. She is the anchor-sheet that keeps all the actors glued to the reality, while simultaneously bringing them closer to the past and as such a single misdemeanour from her part could have hurt the film badly. To this extent, she maintains her brilliance and the film benefits due to her restrained performance.
Madhavan as Ajay plays his role with conviction. Both Waheeda Rehman and Kiron Kher are magnificent. However, Om Puri is wasted in his two-bit portrayal while Anupam Kher and Mohan Agashe look more like cartoon caricatures than the brilliant actors that they are. K K Raina disappoints with his stereotyped depiction of a corrupt politician.
A R Rahman returns with yet another brilliant soundtrack. The title track with Daler Mehndi implodes with vigour and gusto. Lata as usual is brilliant in Lukka Chuppi … but the song that brought me gushing was Ae Saala…what a tempo, what a style… absolutely brilliant and Naresh Iyer sings it so well…Pathshala by Naresh Iyer and Mohammed Aslam also manages to stay true to the mood of the album.
Rakesh Mehra in his second venture not only vindicates the trust and promise he showed in his debut venture but also builds up upon it. His second foray into filmmaking avoids the errors of his first effort while simultaneously building on his strengths. One of his greatest assets is the manner in which he has delineated all the different characters in the film while still subjugating the differences for a single cohesive story. Some of the scenes like the now infamous Aamir-on-a-horse scene and the scene wherein the 4 individuals are running with the rising aircraft in the background and the fence in the foreground are brilliant. Another one that stands up in the reckoning is the scene wherein the guys are all drunk and are encircling India Gate saluting it with affection, pride and attitude.
As you leave the theatre to the resounding strains of ‘Rang De Basanti’, you can feel somewhere deep within you the poet Iqbal stirring up and declaring:
Na Samjhoge To Mit Jaoge Hindostanwaalon,
Tumhaari Dastaan Tak Na Hogi Dastaanon Mein….
The time has come; but the question remains have we?