A Film about gory underworld, and can you even think of feeling a lump in your throat ? Don’t worry ! Leave that job to Ram Gopal Varma. He changes conventions and comes up trumps everytime . Satya began a new chapter in the history of indian cinema.
Satya is a story about, well, satya, a young orphan who comes to mumbai in search of a living and circumstances lead him to resort to violence for the same. Varma gives an ultra-authentic narrative and yet entertains as any other Yash raj candy-floss flick or a David dhawan slapstick [ if that really entertains or not is an altogether different thing ]. Varma doesn’t even care for censor or family audience while penning the dialogues.
Satya re-defines viciousness. whether its Bhau, a machievellan politician, or Mulay, a law-breaking lawyer, one hated their eveil and thats where one feels like loving Varma even more for his aesthetic sense while writing those characters. Though the songs weren’t needed all that much, its just a single box-office constraint to which Varma decided to succumb so as to please his producer.
Saurabh shukla and Makrand deshpande leave a strong impact; and so do Shefali Chhaya and Govind Namdev. Urmila matondkar is a natural as an artiste in SATYA. [ barring one scene when she reminds of her stint in Rangeela ].
The film’s biggest drawback [ or the nly one ] erupts when the director forgets to la emphasis on Satya’s character and tries to bring out the character traits of Bheeku Mahatre instead. Result - the central character seems sketchy in comparison. chakravarthy in the title role is none-the-less competent [ please bear with the much-audible south-indian accent ]
Sandeep chowta’s background score and the camera work add to the intriguing feel of the movie. But they don’t take over the narrative as the actor-director duo of Manoj Bajpai-Ram Gopal Varma overpowers everything else. infact, Bheeku mahatre’s vibrantly loud character brings feverish charisma to the narrative. this is Manoj bapai’s best performance ever.
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cheers
harsh