Spoilers ahead…
The tag line for Sriram Raghavan’s new film Badlapur is “Don’t Miss The Beginning,” and we wonder, first, what’s so missable about it. Everything’s so… ordinary. We’re on this side of a street in Pune. At the other end, there’s a bank. There are a few passers-by. There’s the noise of traffic and the sounds of people talking. It’s hard to say what we’re supposed to be looking at. There isn’t even any music. Then someone comes into focus – Misha (Yami Gautam), who’s crossing the road with her little boy, holding his hand. She’s walking towards us. She reaches her car, and… bam! It begins. The masked men who emerged from the bank with loot – again, no music! – are now beside Misha. They shove her in the back seat (her son too), and drive off. A police van gives chase. And now the music begins. But this isn’t the slick chase we usually get, weaving in and out of peak-hour traffic, showing how well the action choreographer knows his job. It’s horribly messy, and life intrudes at all points. Even as the car is revving up, a bike crashes into it. Then, a dog chases it. Another car is hit. The door opens, and the boy falls out. Misha is shot. And a little later, as if it were the most natural thing to do at this point, we cut to the kind of cheeky ad film (for brassieres) that R Balki might have shot.
What, now, to make of the “Don’t Miss The Beginning” injunction? It’s to make us invest in the plot, sure. We now have a reason to root for Misha’s husband Raghu (Varun Dhawan), as he embarks on a revenge mission. But this beginning also alerts us to the mood, the tone, the off-kilter rhythms of what’s to follow. For despite the lip-smacking African proverb that opens the movie – “The axe forgets but the tree remembers” – and makes us anticipate a sumptuous revenge saga, and despite the badla in the macho title, this isn’t an action movie. The proverb, which sounds like an old jungle saying, makes us imagine something out of a Phantom comic, fists of fury and a leading man who moves like lightning, but Badlapur is about a man who becomes a phantom, a shell of his former self – he’s literally the ghost who walks. What Imtiaz Ali did in Highway – subverting the abduction thriller/romance – Raghavan does to the vengeance-is-mine thriller. The films in this genre usually remind us of Hollywood, of Death Wish, where Charles Bronson turned into a vigilante when his wife was murdered. Badlapur reminds us of Dostoevsky, of Bresson, and of the Randeep Hooda character’s line in Highway that a bullet finishes off not just the man being fired at but also the man holding the gun.
Nothing in Raghavan’s career prepares you for Badlapur. He’s always been an interesting filmmaker, and he’s never really made a dud (no, I didn’t mind Agent Vinod), but I’d slotted him as one of those slick movie-obsessed directors who keep reshaping their memories of the films they’ve watched and loved – a solid genre filmmaker, in other words. Even in Badlapur, we catch glimpses of the things that probably shaped Raghavan. The Nicholas Roeg thriller Don’t Look Now (based on Daphne Du Maurier’s book about another father grieving for a child). Aa chal ke tujhe. Ek ajnabi haseena se. And of course, Sholay. Even the repeated attempts by Liak (Nawazuddin Siddiqui) – one of the masked men – to escape from prison could be seen as a slapstick variation on similar scenes from Bresson’s A Man Escaped.
But Badlapur goes beyond genre and simple homage. It isn’t slick. It has a verité feel. The film appears to have been edited on the jagged edges of life.. It’s a slap in the face of films like Death Wish that exhort us to cheer for the wronged hero. And it tells us that no one’s really that heroic, that good, that blameless, that spotless – and it tells us that the survivors are most likely victims of PTSD. They need help. It isn’t just Misha or the little boy who end up as collateral damage, or even Misha’s Tamilian parents, who refuse to eat. (In one of the many subtly amusing moments, Raghu’s north Indian mother asks her husband to go to the supermarket and get idli and sambar mix. Madrasis, clearly, don’t eat anything else.) Raghu himself is collateral damage – he’s “damaged goods,” in the way we use the term for people who are “psycho,” like those who return from war and discover that their life is now shrapnel.
Scene after scene subverts what we think a hero in our cinema is going to be like. We expect Raghu to be in mourning for his wife and his son. And he is. We are invited to sympathise with him when people recognise him on the train and point at him as if he were a minor celebrity, or when he makes a reference to the money he’s getting from his little boy’s LIC policy, or when, in a fit of self-flagellation, he gets beaten up by irate truck drivers. But slowly, we pull away from him. The easy empathy we have for people in these situations isn’t what we have for Raghu. Badlapur complicates our feelings for him. He has sex with a prostitute named Jhimli (Huma Qureshi), and later, with the social worker Shobha (Divya Dutta). At one level, this is only to be expected. After all, why should Raghu be like other husbands in Hindi cinema, whose sex life dies after the wife’s death? But this isn’t just that. This isn’t just about forgetting the world for at least those few minutes. Something else has hardened inside Raghu, and we are left disoriented.
I was initially unsure about the casting of Varun Dhawan. He’s an excellent comedian – put him or Ayushmann Khurana in a light film; you need no other selling point – but he’s also so young and such a livewire (at least in the few films we’ve seen him in) that when Badlapur makes a time leap of 15 years, I couldn’t see how Dhawan, in spite of a few flecks of grey in his beard, would portray a man in his mid- or late-thirties. This is also a man who’s slowed down, weighed down by every negative emotion that’s congealed inside him. Raghu, in other words, is no livewire; he’s dead. Acting older or younger than you are is one of the more difficult aspects of performance, and some actors manage to age convincingly – Anupam Kher in Saaransh, for instance. It was a surprise, later, finding out that the actor really wasn’t that old. It isn’t that Dhawan is a bad actor, as such – just watch him at Misha’s bedside, attempting to console her while breaking down inside. He’s completely convincing. It’s just that he isn’t that good a dramatic actor yet, and there are scenes in the latter portions where we feel an older actor may have brought something more to the movie.
But then, an older actor may not have been able to give us the jolt of joy Dhawan does in the brief flashback when he learns Misha is pregnant. His comedic instincts, his timing – they’re perfect. And the placement of the scene is equally perfect. We see this utterly lovable chap, and then, in a flash, we return to the present, where that ecstatic, young father-to-be has been replaced by this frightening murderer. Raghu’s scenes with Kanchan, played by Radhika Apte, have to be seen to be believed. And my stomach was in knots when Raghu inveigled himself into a dinner at Divya’s home – there was no telling what he’d end up doing. I don’t know if Raghavan is a fan of The Godfather, but there’s a line there that goes “Revenge is a dish that tastes best when cold,” and part of this movie’s mission is to show what waiting that long can do to someone like Varun Dhawan. Liak actually gets a line that riffs off this idea, when he – as the film’s voice of reason; it’s a stunning twist of irony – tells Raghu that at least his crimes were committed in the heat of the moment, unlike Raghu’s, which are the result of icy-chill calculations.
The film makes us pull away further from Raghu when we learn that Liak has terminal cancer. The karma thing, that’s apparently worked. Or maybe God has punished Liak. (Badlapur is the kind of film that keeps making you think about things like “retribution” rather than mere “revenge.”) Balance has been restored in the universe. That should be enough for Raghu. And when it isn’t, when Raghu keeps baying for blood, we realise he’s become the “villain” of the piece. He’s not doing this for justice, so that Liak won’t hurt another family again. He’s doing this for himself. Badlapur is the name of the place he’s settled in, after moving from Pune – revenge is his home, his destination. We don’t want anything to do with this man anymore.
And just as unexpected as the revulsion we feel for the hero is the sympathy we begin to have for Liak. Outside of gangster movies, where the bad guys are the protagonists and we are therefore invited to empathise with them, I cannot recall a film where we root for those who’ve done the hero great harm. The other characters, too, are detailed with great love, especially the women. There’s Shobha, whom Dutta plays with tremulous righteousness. She’s outstanding in the scene where she tries to convince Raghu that he should sign a petition that will allow Liak to be released on humanitarian grounds. You can see she believes in what she’s doing, fighting for Liak, and yet, she knows what she’s asking of Raghu. Then there’s Ashwini Kalsekar, playing a private detective hired by Raghu. The character is written well, but the actress comes off as too flamboyant, too cinematic in a film otherwise so rooted and real.
But the presence of this professional is unusual – we don’t usually see someone like her in the average revenge thriller. Even in Ek Haseena Thi, the person who helped the protagonist was a criminal, someone she met accidentally – whereas Raghu seeks out this private detective deliberately. He knows he’s no superman and he knows he needs professional help. Badlapur is full of these odd little asides. I don’t recall seeing a scene in another film where a prison inmate eats with his hands cuffed. The cut to “15 years later” – that’s a small shock. It’s done so… invisibly. The writing constantly confounds us. I expected a showdown when Kanchan finds out what her husband Harman (he was Liak’s accomplice, and he’s played by Vinay Pathak) did – but the drama happens off-screen. (Pathak is fantastic in the scene in an elevator with Raghu. He keeps us guessing: Does he recognise Raghu? Does he just find the face familiar?) And then there are the hints at something larger – something karmic or even divine. It’s in the way, for instance, Raghu meets Kanchan. Was he tailing her? Or is it providence? And there’s a cop (Kumud Mishra) at the end who finds out what Raghu is up to. I felt, for a while, that this blackmail subplot was unnecessary – but here, too, through Liak, we inch towards the film’s themes of compassion, forgiveness, and the divinity inside that can surprise us sometimes – all of which are now alien concepts to Raghu.
This is the thing with Badlapur. There’s no character too minor or too evil to be regarded as undeserving of love and compassion. Even Raghu. As for Liak, he’s surrounded by love. Pratima Kazmi is wonderful as his mother, a Nirupa Roy who’s been sandpapered over. You can see she loves her son, but that’s not the only dimension to her. She’s got her own baggage, about a dead husband, whom she cannot stop bad-mouthing – and this revelation syncs beautifully with Liak’s actions at the end. Harman too lucks out in this department – Kanchan does things above and beyond the call of duty. And yet, she flinches at his touch. Can you love and loathe a man at the same moment? Apparently yes, according to Radhika Apte – one grows tired of describing performances as “superb” and “fantastic,” but that’s what they are in Badlapur. Only Huma Qureshi seemed to me a little off. Playing a prostitute is always a problem for our heroines, and we know what’s missing in this performance when we see, later, another prostitute named Sweety. This actress (I don’t know her name) doesn’t seem to be “acting” at all.
Neither does Siddiqui. On the surface, he’s doing what he’s done in many films now – puncturing badassery with comic quirks. And he gets juicy moments – when he pleads with Jhimil for “gandi baat” over the phone, or when he mimics another prisoner’s limp. I laughed out loud when, after his release from prison, Liak walks up to the man who’s tailing him and has a casual chat. Siddiqui’s enunciations are entertainingly weird. You have to see the way he says goodnight to Patil (Zakir Hussain), compressing the word and spitting it out like a bullet. But Badlapur gives his character a hell of an arc, and he finds new things to do, newer ways to do them. At first, we think he’s scum – when Raghu visits him in jail and beats him up, Liak smiles, and we don’t doubt the reason for that smile. Surely he’s pure evil. Surely that’s why he’s smiling, at this realisation of how much pain he’s brought to someone. But then again, looking at him in the latter parts of the picture, maybe not? Maybe there’s something more to that smile? Siddiqui gives us a fully shaped performance and yet he doesn’t connect all the dots (and the writing surely helps). He keeps us on our toes. I don’t want to make grand statements like he’s the best actor we have today, but if anyone’s making “I heart Nawazuddin Siddiqui” T-shirts, will you let me know?
KEY:
- gandi baat = dirty talk
Copyright ©2015 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Devarsi Ghosh
February 27, 2015
I honestly found the film to better than most Korean revenge dramas, for example, the much loved I Saw The Devil. In those films, the storyline and characters are one-dimensional. A singular righteous hero and a devilish villain. Chase-chase-chase. Kill-kill-kill. But Badlapur so brilliantly subverts expectations and plays with the genre, it was a delight. In my book only Oldboy > Badlapur > everything else in the revenge cannon.
LikeLiked by 4 people
Venky
February 27, 2015
I was waiting for your review, as I deeply connected with the mood of the movie. Towards the end, I was somehow disappointed. Did it really merit the final scene when the prostitute meets Raghu to convey how Liak has given him a second chance in his life? It dissed the mood of the movie for me. Despite the solid moments throughout the length of the movie, it seemed to lack a sense of closure. I expected the director to leave me on a sense of a high. But I couldn’t take that meandering sense of nowhere one feels towards the end when Nawazuddin surrenders to the police taking ownership for the killing of his accomplice.
LikeLike
Prasad
February 27, 2015
Hi BR,
Outstanding review. Sriram is back to form. Johnny Gadaar was one of my favorite for a long time and this is as close to that.
“But Badlapur goes beyond genre and simple homage. It isn’t slick. It has a verité feel. The film appears to have been edited on the jagged edges of life.. It’s a slap in the face of films like Death Wish that exhort us to cheer for the wronged hero. And it tells us that no one’s really that heroic, that good, that blameless, that spotless – and it tells us that the survivors are most likely victims of PTSD. “
The crux of the film is rightly summarized in the above statement. The ending is least expected (At least I didn’t expect) and it was done in more realistic way.Nothing dramatic about it. Also police inspector’s character is also relatble.
Desperation for money considering his last day looks believable.The revenge plot is handled so effectively better than that even movies like “in the bedroom” or the recent “Blue ruin”.
The scenes in which he goes to Vinay Pathak’s house is indeed nail baiting and another aspect the present of dark humor throughout the movie which lifts the film.
Another point want to bring in about the running time of the movies. Just see the running time of the big manner movies in Tamil…Lingaa, I , Yennai Arindhal easily clocking and am sure all of them didn’t have content to justify 3 hrs.
Seeing movies like Badlapur(running time of 2 hrs) , one can realize the runtime is so important to make the movie tight and slick without unnecessary scenes.Songs are just part of the movie so effective !!!
I still don’t know how can screenplays would be written for these movies these big budget movies like Lingaa, I ….probabaly think they will fix the running time and think what element can be include in each scene to excite the viewers.(Unfortunately that also doesn’t happen)
Can you Please let me know what you think about running time? What aspects directors should take care ?
LikeLike
Utkal Mohanty
February 27, 2015
A brilliant review of a brilliant film that deserves all the detailing that you so often bestow upon totally undeserving candidates.
Here is how I had responded to the film immediately after viewing it. It is brief because I did not want to give too much away.
Good fiction enables you to empathize with its characters, good and bad. Lets you live their lives. Think their thoughts. Stand in their shoes. Get under their skins.
So imagine you have lost you father when young and have been brought up by your mother. It’s been a hard life. You have turned out to be a badass character. Lived a life of crime, in and out of jail. Out of jail, one day, you return home late. Your mother gives you a piece of her mind. Says, “You are no good. Just like your father.” “Mom. Are there any good things about my father you remember?” you ask. Your mother is silent. “Just one thing,” you prod her. Your mother replies, “ Woh purana chawal se keeda nikalne se kya phayada?” (What good will it do to dig out insects from an old sack of rice?) You are struck by a sledge hammer. Not one good thing she can think about my father!
Life changing, the thought can be. ( You will know the context better when you see the film.)
And it changes Badlapur, from perhaps the smartest Hindi film script ever, to a piece of poetry.
Brings to mind Anurag Kashyap. You know, his films…they are brilliant prose… I think. But Sriram Raghavan’s ‘ Bdlapur’…it is poetry. Because what Kashayp says in ten pages of description, Raghavan does in one line of metaphor. Make no mistake. Kashyap’s ramblings, his indulgences, are fun. It’s just that Raghavan is crisper, leaving you with a sharper, well-aimed impact.
Another thought on the film: There are a set of directors I like Hirani, Hrishikesh Mukherjee, Barjatya ( only Hum Aapke Hain Koun..?) in whose films everyone is good. Even the bad characters. ( The worst thing about bad woman Bindu in HAHK is that she wears loud clothes.) And there is Kashyap, in whose films..from Paanch to Ugly…. everyone is bad. But what Sriram Raghavan does here is even more interesting. In Badlapur you see good people do things you won’t have imagined even the bad people capable of and the bad people, perhaps just once in a while, come up with acts of shining good. And mind you, none of them will strike you as acting out of character.
I won’t tell you anything more about the film per se because I want you to see it as pre-conceived as possible. But may be a few more rambling observations. I am struck by how the makers of noir films come up with the most interesting female characters. Think of the Richa Chadda and Huma Qureshi characters in Gangs of Wasseypur. Or Vidya Balan in Isqiya and Madhuri Dixit and Huma Qureshi in Dedh Ishqiya. Or the Tejaswini Kolhapure character in Ugly, And this film has a whole sorority of them: Huma Qureshi ( again!), Divya Dutta , and the heartbreakingly innocent and symbol of pure goodness in the film, Radhika Apte. (She was so effective in Shor in the City; and she is even more effective here. ) And then there is Yami Gautami. She doesn’t have much to do. But then a ray of morning sun doesn’t have much to do either, except shine on bright, right?
And this thread of thought takes me to the performances. What does one talk of when one talks of Nawazuddin Siddiqi? Craft of acting? Perhaps not. One can find a hundred flaws. Range? No. One can say he is limited and pull out fifty roles he cannot play. Genius? Perhaps, yes. How else can one explain how and why does what he does? (Think of his sudden turn at mimicking the lame jail mate, if you have seen the film. Or how, when his mother exclaims at seeing him turn up at home from jail unexpectedly, “ Tum toh kal aane wale thay?” he does a quick about turn to say “ Toh kal aata hoon’, befote turning again to hug his mother. ) A hypnotic shaman. Yes, yes. Try taking your eyes off him when he is on screen.
Then there is Varun Dhawan. This is only his fourth film and his act is a good act. It is that kind of a performance where more than individual components of a performance – diction, delivery, timing, body language, etc, etc. – what you marvel at is his ability to become the character he is playing and make you buy in his actions that are clearly outside the spectrum of a normalcy. Like Shahid in Haider, Varun too makes his descent into maniacal and murderous violence here believable, not through some clever tools of method acting, but perhaps by just internalizing the character. By just being Raghu. All the women in the film as well as the man who plays the police inspector investigating the case and Vinay Pathak as Harman are consistently engaging with compelling performances.
The film has some beautiful songs, used unobtrusively and weaved in seamlessly into the narrative. The cinematography is excellent. So it is really a good case of a film being enriched by contributions from all departments, as it should be. . But in the end it is a triumph of great writing. The kind of writing that would be good writing even if it was not a film.
Consistent with its contrarian streak, the film, though apparently a story of revenge, actually makes a case for forgiveness. It brings to my mind a line from Tagore’s Shyama , where the protagonist who could have, but did not forgive the sinner, says to God , “ I am sure YOU will forgive the sinner, but you will not forgive my not being able to forgive.” Or something to that effect. That is what Nawazzudin was leading Varun to realize during their final interaction.
Ps: This is the script Aamir should have picked up instead of Talaash, the gimmicky mess.
LikeLiked by 1 person
Utkal Mohanty
February 27, 2015
And I had similar feelings about how the film ideally should have had an older actor than Varun Dhawan. I had made this post on this:
Why Aamir should have done Badlapur instead of Talaash.
Well, maybe he would have spoiled what has turned out to be such a landmark film. But that’s the challenge he should have taken.
Firstly, good though Varun is, there are many gaps in the perforamnce that only an experienced actor could have filled up. And the age transition would have worked out perfect. Raghu, 30 at the start of the film, married 5 years back when he was 25. Fifteen years later, for the second part of the film, he would have been 45, very close to his real age. Would have looked so natural and convincing.
Secondly, it is a far meatier role than the one in Talaash. There so many scenes of Varun in Badlapur that one remembers. What do I remember of Aamir in Talaash?. Only his moustache. And his scowl.
Thirdly, the female characters in Badlapur are so much more interesting than Rani and Kareena in Talaash. And the hero has meaningful and interesting interaction with each one of them – Yami, Huma, Divya and Radhika – and each interaction is different, each relationship is different.
Fourth, it would have been a true noir film instead of a fake one like Talaash.
Fifth, the role would have stretched Aamir as a star, and as an actor. The things he does to Huma, Divya, or Radhika wouldn’t have been accepted by the audience, conventional wisdom says. But challenging that is what true dare is about. And risky though it is, it also could have had a big pay-off if Aamir could pull it off. Like Ghajini dd.
And he could have just softened his badness a bit by making Raghu realise the futility of revenge in the end and could be inconsolable in his realization of how much harm he has done to everyone he came in contact with due to his inability to forgive.
That would have been good for the film too.
It IS a landmark film already, with Aamir it would have been a huge landmark …… If he had pulled it off.
If not?
Well, it won’t have been any worse than Talaash.
LikeLike
A
February 27, 2015
The only thing that is keeping me from watching this is Mr Dhawan and you Rangan are sort of confirming the same. From what you say about him here, you seem to be too guarded to frankly write about his dampening performance. Why so please.
Sriram Raghavan, such an astute idirector, I just don’t understand how he could cast Dhawan who is simply not mature enough for such a performance.
LikeLike
Nidhi
February 27, 2015
Those fifteen years do an awful lot of things to both Raghu and Laik, but only Nawaz is able to make us not question the change time brings. Varun is a bit empty at times, to be honest. The tension in the second half lets up because he is unable to give his character enough believability.
Radhika Apte is so impressive. Such an interesting turn of the ‘trophy wife’ cliche.
I got the impression from the review that you rate this film higher than Johnny Gaddar. Am I right in thinking so? I think Johnny was a bit more consistent throughout than this one in everything – acting, tension and pacing. Dat climax!
LikeLike
vimal
February 27, 2015
Amazing write up to an amazing movie, and its not just because you have agreed to whatever I thought about the movie myself.
I really dont remember the last time any mainstream Hindi movie that affected me so much. The movie and all the characters stayed on for almost two days with me.
The last line of the movie by Huma ” Now, what would you do with your life?” and the lost look on Varun’s face was the perfect closure to this movie, according to me.
Loved the writing behind Radhika Apte’s fake sex scene. Moments or hours before, he pleaded that he isnt responsible for the deaths 15 yrs ago and she believed him (they dont show it though), and then, she pleads nothing happened and he is clueless, frustrated, helpless and dead ! Now, thats what I call a revenge ! and, the scene, where we are made to believe that Divya Dutta is killed. For sometime I thought, why? Why her? and there, she pops up in the middle of nowhere! and the lift scene, Vinay Pathak’s expression appeared this way to me “Hmm…I have seen this guy somewhere. Holy mother of crap, its him. Shit, I am screwed. Wait, does he know me? No way, he doesnt know me; how can he? Or does he?”
No words seem enough to describe Nawazzudins performance – what an actor ! Major man crush !!! Three scenes stood out for me – The one where he speaks to Huma’s client who is at the balcony, the scene where he tells Varun “Apne ilaaj kar” and also, the last scene of his inside the jail where he wears his glasses, walks head held high and talks about Thailand!!
Oh, I could go on and on about the movie! Wish we had more Badlapurs! Sigh ! which also made me think, what on earth are our so called superstars doing with their careers? When have they done anything as intense as this ? With their star power, cant they demand a similarly well written script; is it too tough? Of the current lot, I can see only Akshay going that way; I have lost all hopes on Ajay !
LikeLike
Vishal
February 27, 2015
Apparently, the namesake town got its name from the fact that it was a horse remount depot on the Konkani travel route to Gujarat. Badla in a homonym that can also mean ‘change’. I kept wondering if this innuendo was intentional…
LikeLiked by 3 people
Vishal
February 27, 2015
Oh, and the way Siddiqui said ‘goodnight’, with a halfhearted, hurried bow was a piece of impeccable acting! Instantly reminded me of that short (and brilliant) story from Bombay Talkies that discussed how much power can be packed in — and nuances can be added to — a single-word dialogue like ‘aye’.
LikeLike
Lijin Jose
February 27, 2015
I think despite the spoiler alert you should have avoided giving out on that opening scene for those who haven’t seen it.
LikeLike
duke
February 28, 2015
A lot of credit must be given to Massimo Carlotto whose novella is the basis of this story.. A lot of things rangan is raving about are distilled from his writing and life experince. And I actually loved varun.. Nawaz was again playing that gareeb harqmkhor type which he is so good at..
LikeLike
Vishal
February 28, 2015
After Lootera and Haider, this is another recent movie that uses silent stupendously. Some of the most powerful scenes in these movies — the kind of scenes that linger in your mind long after the movie is over — are with no background music, and more importantly, no dialogues.
LikeLike
N
February 28, 2015
No one’s going to mention the Maratha Mandir quip?
LikeLike
brangan
February 28, 2015
Venky: But the point is there is no closure. It’s just a new beginning. He’s staring at the sky. An unknown infinity lies ahead.
Prasad:There’s no rule about running time. I’ve seen 90 minutes films that feel like 3 hours and vice versa. It all depends on how good the writer-director-editor team is — as they are the three most important people in the making of a movie.
A: There’s nothing that says a performance has to be either 100% good or 0%. There are times an actor does very well in parts and not so well in other parts, and I have pointed that out in my piece.
Nidhi: Don’t feel like comparing this to “Johnny Gaddar” now. Let the warm buzz be 🙂
LikeLiked by 1 person
Subha
March 1, 2015
Did most Tamil movie makers (considering you do mostly tamil reviews, though I’m writing this under your hindi reviews) realize that one of the major threats to their movies – is not piracy but you?
I for one, sooo look forward to your review of a movie, than the movie itself.
I wonder if people put half the effort that you put into making a review interesting, into making their films…
LikeLiked by 1 person
MANK
March 1, 2015
The sound design of this movie is awesome. Never seen or rather heard , sound so brilliantly used in Indian cinema to convey mood eschewing the the BGM.
This film scores a 10 in all depts, except in the casting of the lead role. I cannot believe that such a brilliant script didnt attract the attention of a top actor like Aamir or Ajay , who would have been terrific in this role.Dont know whether the failure of the big budget big starcast Agent vinod had made SR a pariah in the industry. Casting Varun was like – as one reviewer put it, – casting Justin Bieber in scarface.
Brangan,no mention whether there was any meta significance in naming the lead character after the director. Making This film seems to be SR’S own quest for revenge against the existing industry movie cliches, especially coming after the failure of the more conventional AV.
LikeLike
Vivek Gupta
March 1, 2015
It was after a long time that a Hindi movie held me in its tight grip for so long after watching it. The title Badlapur promised a revenge saga rooted in the small town millieu of modern India that has become so fashionable these days. The stunning opening sequence seemed to confirm that preconceived notion. But the movie subverts those expectations piece by piece in next 2 hours or so giving us an incredible journey into the minds of its lead protagonists.
I am glad to see you mention Dostoevsky. The plot of this film felt like it came out of the best Russian writing of late 19th century which was so great at peering straight into the souls of its characters. A Gogol or a Chekhov would have been proud of this story. As someone mentioned here that even without the film just the written story would have been remarkable. The great story is elevated further by top notch performances and great direction. Yes I also felt that An older lead actor may have been better for the latter portions of film but there aren’t that many out there who could have portrayed the vulnerability of the younger version of lead as well as Varun. Overall I felt Varun did a good job and in some scenes he was plain incredible.
A gem of a movie indeed. Wish they continue to make more of these.
LikeLike
Vivek Gupta
March 1, 2015
And Right after I wrote the comment praising the story of the movie I found out that it is an Italian novel. It felt right that such a spellbinding story came from a novelist instead of a mere screenwriter. Would have felt better if it was actually an Indian story. Great movie nevertheless.
LikeLike
Priyanka
March 1, 2015
I loved the movie and agree with all of the above.
In addition to this I thought there were some killer dialogues, remember Nawaz’s days of the week rhyme. Or when Varun finds out that Liak has cancer he says something along the lines of “Wow I feel like celebrating, maybe I will order Chinese”. Most of Liak’s dialogues are brilliant.
And regarding Varun Dhawan, I like everyone else was completely blown away by how great Nawaz was immediately after watching the film. He was crazy and charismatic and unpredictable and strangely Normal. Then later when I began to reflect on the movie I realized that Varun deserves his due as well. I mean this is the boy that played a fantastic Humpty Sharma, and now he plays this cold hearted calm killer convincingly enough. And I mean how many of his contemporaries could do the same (Arjun, Ranveer, Aditya Roy Kapur….I just can’t see them doing this with the same intensity and calmness) And there are all these polls comparing Varun in this film to Sidharth in Ek Villain, ……there really is no comparison.
LikeLike
Swaroop Kodur
March 1, 2015
Very interesting perspective, Mr. Rangan. Firstly, what impressed me the most is that though Raghavan has been around as a filmmaker for a really long time, he still thinks like a cinephile teenager. It’s so wonderful that though having made a movie with real and conflicted characters, he still very carefully refrains from social commentary of any sort (which I felt was a serious problem with Ugly). Secondly, the love for B movies he has! The cheap lodges, sleazy (and voluptuous) prostitutes. It’s almost like he has chosen the setup from one of the Tamil Pulp Fiction stories. Thoroughly enjoyed the movie. However, don’t you feel that the culture of movie-watching in India is a little flawed? It’s not fair to categorize every thriller/ crime drama as a “dark” movie. My annoyance with this is the unintentional humour it tends to generate. Every slang word is treated as a joke. It seems that sometimes add these words to the vocabulary just to get inane reactions. Not that this was a problem in Badlapur.
LikeLike
Aditya
March 2, 2015
wow, i was, to be honest, kind of underwhelmed when i walked out of Badlapur. but then, now that i have read your opinion, maybe it was my shortcoming, and not the movie’s?
Johnny Gaddar still remains Raghavan’s movie to beat, you know, but yeah. Badlapur had its moments, and the rest you are making me understand.
Thanks, BR! you know, this kind of reviews is why i keep coming here!
LikeLike
Mohit
March 3, 2015
Especially since you’ve used scare quotes for the word “psycho”: there was a piece of background score during one of the chase scenes in Badlapur that expressly emulates the iconic shower scene music from the Hitchcock film.
Also, in a very loose sense, isn’t Badlapur an antipode to Johnny Gaddaar, narrated from the other end of the equation?
The casting/characterization of Zakir Hussain is the key… Nawaz-Huma find themselves in the exact same situation Neil N Mukesh & Rimi Sen were in that film. Kill someone, grab the bounty, run off to live happily ever after…
LikeLike
rathchakra
March 3, 2015
Fish tanks – seen in multiple scenes in both Johnny Gaddar and Badlapur… just a coincidence or deliberate placement? Can’t remember them in Ek Hasina thi or Agent Vinod… may have to watch those movies again.
LikeLike
vijee
March 6, 2015
“I heart Nawazuddin Siddiqui” T-shirts, will you let me know?
LikeLike
oracle86
March 7, 2015
Can someone please design this “I heart Nawazuddin Siddiqui” T shirt” on one of those sites that allow you to design your own stuff? l’d gladly buy one..
LikeLike
SS
March 27, 2015
the movie was OK, and this review is a little too much 🙂 I personally did not lose sympathy for Raghu. The unnecessary murder did not seem to belong to his character arc, something injected from the sidelines. And that character Shoba? Both the director and this reviewer seems to believe in her goodness completely. I was itching for Raghu to ask her what her angle was, what desire for fame or NGO funds or religious validation would trigger this woman to saunter so casually into another human being’s pain and badger him to forgive. I find it slightly scary, an indication of the current group think, that the reviewer would take her goodness for granted
LikeLike
pankaj1905
April 28, 2015
As if there were not enough revenge-based metaphors in the film, Badlapur has another related- reference. Earlier in the film, we see that Raghu and his son are dressed as the famous duo Batman and Robin in a picture. The name of Raghu’s son in the film is actually Robin. Batman is another superhero with a theme of revenge. Having witnessed the murder of his parents as a child, he swore revenge on criminals. Thus, Raghu in some ways had characteristics of Batman. Interestingly, during the song Badla Badla, the lyrics talks about the change in Raghu and during that song, we see a policeman asking Raghu his name. Then, the policeman says that he is a joker as if our Batman has turned into Joker, the most dangerous villain that Batman had to fight. It is a terrific insight on the theme of change. The hero has become the anti-hero. Who is Batman and who is Joker?
LikeLiked by 2 people
brangan
April 28, 2015
pankaj1905: What a superb comment. Thank you.
Have been meaning to revisit the film, and this gives me added reason.
LikeLike
pankaj1905
April 28, 2015
Rangan Sir, nothing like your brilliant writing, but some other thoughts and references on the film. http://dichotomy-of-irony.blogspot.com/2015/04/badlapur-of-badla-change-and-badla.html
LikeLike
Ram
June 14, 2015
Amazing movie – well scripted, directed, acted, edited. One of the few movies that didn’t have a wasted scene IMO.
On hindsight, the plot reminded me of another favorite of mine – American Gangster. There too, you have the hero and the villain with contrasting characterizations – the hero has a really good “work” life – he’s one of the handful honest cops in his department – while his personal life is in deep trouble – adultery, divorce, you name it; for the villain, its the opposite – he’s the drug lord with a perfect family life – being the nice son, husband and brotha!
LikeLike