Film review: Rang De Basanti
By: Sarita Tanwar
January 28, 2006
Rang De Basanti ****
Dir: Rakeysh Omprakash Mehra
Cast: Aamir Khan, Soha Ali Khan, Sharman Joshi, Atul
Kulkarni, Kunal Kapoor, Siddharth, Kiron Kher
What’s it about
It was Ashutosh Gowariker’s Swades that propagated subtle
patriotism through the medium of mainstream cinema. Rakeysh
Omprakash Mehra’s Rang De Basanti may not be as idealistic
in approach but the effect is as compelling — after a flawed
debut (Aks), Mehra surprises you with a film that’s
entertaining, technically brilliant, thought-provoking and
with a message — it’s almost the cinema we crave.
RDB is about an English filmmaker Sue (Alice Patten) who
comes to India to make a film on Bhagat Singh and his
freedom struggle.
Her friend Sonia (Soha Ali Khan) introduces her to her gang
of pals, DJ (Aamir Khan), Aslam (Kunal Kapoor), Karan
(Siddharth) and Sukhi (Sharman Joshi), who’re wasted
students — frustrated with the system, they would rather be
part of it than change it.
With great difficulty, Sue convinces them to play the roles
of the revolutionaries and it’s during the shooting of her
film that the awakening begins. The boys finally realise the
mission of their lives, rebel and adopt Bhagat Singh and his
clan’s modus operandi to seek their own revenge.
What’s hot
Very rarely do you encounter movies whose content is as
intense as its packaging — Mehra manages it. At most times,
the director holds the script tight and the unruffled
screenplay enhances the proceedings.
The first half of the film flows at a relaxed pace — mostly
establishing the camaraderie between the friends and their
‘no-goal-attitude’. Mehra plays the refined role when he’s
highlighting the emotions of his characters.
Scenes like when DJ and Alice first find comfort in each
other in the car; Laxman’s (Atul Kulkarni) initiation into
the group; the scenes with DJ’s mother (Kiron Kher) at her
dhaba; there’s no exaggeration, no overtly hysterical drama.
Some scenes startle you with their unpredictability: when
they’re watching themselves play the revolutionaries and the
lights are turned on, their silence is unnerving.
But just when you feel the scene may take a serious note,
Mehra shifts gears to a playful terrain again.
The slick transition is what stays with you. Mehra’s shot
taking is commendable: the night-lit Delhi almost looks like
Gothic City; the changeover from sepia-tone to colour and
from past to present is expertly handled; the song
picturisations are a treat (Binod Pradhan’s cinematography at
its best).
The director also takes a bold anti-Establishment stand,
questioning the credentials of the accident-prone MIG-21
aircrafts. Mehra’s greatest achievement lies in extracting
some outstanding performances from his artistes — Aamir
Khan, despite age showing on his face, is in great form.
His breakdown after Madhavan’s death is a high point. Aamir
displays courage by giving equal and sometimes even more
footage to the other actors in the film.
Soha Ali Khan is splendid – where’s she been hiding all this
while? Kunal Kapoor is sincere and Sharman Joshi (the only
one with an incomplete characterisation) makes a lasting
impact.
The big discovery of the film is Siddharth — the true blue
cool dude and a real star in the making; he rocks the screen
with his untailored intensity. Atul Kulkarni
proves yet again that he’s one of the best actors in the
country.
Alice Patten is brilliant — watch her in the scene when
she’s auditioning Atul or dancing to Punjabi beats or even
when she’s flirting with Aamir. Kiron Kher excels in the
small part. Music by A.R. Rahman is the kind to grow on you
— the title track is fantastic.
What’s not
Some scenes need serious editing. Like the one where Alice
is auditioning students. Also, the climax, though impactful,
seems a bit unrealistic for a film of this kind. Maybe the
director could’ve avoided comparing Bhagat Singh’s story
with the revenge spree of the young brigade.
Drawing inspiration for an action is one thing but
repetitively putting them in the shoes of the legendary
freedom fighters is quite another. The Hindu-Muslim clash
between Aslam and Laxman is a tad predictable.
What’s that
Alice Patten saying ‘Teri maa ki aankh’ to her superior at
the television station she works in. Considering she’s
supposed to have learnt Hindi at a night school, wonder
which one and what kind would teach her that?
What to do
RDB is a brave effort and a perfect ‘patriotic’ dose for
today’s generation, conveyed in a style that’s entertaining,
not preachy. Watch it.
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