Rang De Basanti Director: Rakeysh Mehra Cast:      Aamir    Khan, Siddharth, 
Sharman Joshi, Kunal Kapoor, Soha Ali Khan, Atul KulkarnI Verdict: ****

  W  e have one foot in the past and one in the future but we   are peeing on 
our present, says DJ (Aamir Khan) in Rang De Basanti. As crass as that may 
sound, it pretty much hits the nail on the     head.    Kamlesh Pandey’s      
story    and Rakeysh Mehra (Aks) and Rensil D’Silva’s screenplay have set the 
foundations for a remarkable and commendable film. In an age of cheap 
imitations and blatant plagiarism, in a time of creative drought and vulgar 
consumerism, it is heartening to see   original, responsible and sincere 
cinema. 
   Set in Delhi, focusing on a group of carefree students reconciled to the 
state of the nation and most concer ned only about their next beer and paratha, 
the film traces the coming of age journey of five friends. DJ has been out of 
college five years but is too afraid to face adulthood; Karan (Siddharth) is 
the angry young son of a rich businessman, an introvert but fiercely loyal; 
Aslam (Kunal Kapoor) is tor n between moder nity and tradition;          Sukhi 
(Sharman Joshi), whose one ambition is to lose his virginity; and Sonia (Soha 
Ali Khan), an idealist engaged to the righteous F lt Lt Ajay Rathod (Madhavan). 
To this g roup, party politics means debating which beer to order and finding 
the next whisky bar. In   contrast is their adversary, Laxman Pandey (Atul 
Kulkarni). His motivations are upholding Indian values and traditions, through 
a saffron tint.

 
  The entry of British filmmaker Sue (Alice Patten) into their lives is like 
setting a cat loose among pigeons. Ar med with her g randfather’s diary, which 
documents his experiences when he served as a police officer during the British 
rule in India, Sue’s project is to make a film on the Indian revolutionaries 
through a reenactment of the events recorded in the diary. In DJ, Karan, Sukhi, 
Aslam, Sonia and Laxman she finds    her    Chandrashekhar Azad, Bhagat Singh, 
Rajguru and so on.

 
  Shifting between sepia tones of the past and current day colours, through the 
film within the film for mat parallel stories   unravel as the experiences and 
principles of the revolutionaries in 1930s British India begin to awaken the 
complacent youth of today. Triggered by the crash of a MiG21 and the political 
cover up that follows, the cast of Sue’s film are roused from their complacency 
and find a mission which leads to a radical, violent and unsettling climax.

 
   Though      the   film addresses apathy, deeprooted corruption, failure of 
the system and patriotism, the end does not justify the means. Violence and 
murder and the doctrine of an eye for an eye cannot be condoned, and depicting 
the law as having zero accountability is rather exaggerated.

 
   Having said that, Rang De Basanti is a brave ef fort that spares no punches. 
It’s a film you cannot be indif ferent towards. Mehra puts   together a 
technically fantastic team where each department, especially cinematography 
(Binod Pradhan), music (A R Rahman), styling (Arjun Bhasin, Lovleen Bains), 
other than story and screenplay stand out. A big thumbs up to the casting too. 
A true ensemble cast, which is led by Aamir Khan, but not dominated by him — 
credit to him for staying in character and having the grace to give the other 
actors space to make a significant impact. The performances are a revelation 
and the actors from different linguistic regions (Hindi, Marathi, Gujarati, the 
South) merge effortlessly.

 
  Rang De Basanti is a hopeful film, perhaps not for the state of our nation, 
but certainly for the state of our film industry. Thank god for originality and 
for the courage of the filmmakers’ convictions. 







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