The Immortal Impact of Subhash Nagre
There are characters presented on film that are destined to live forever. Depictions that leap out at you from the screen, grab you by the throat and shake your very being. These characters have succeeded in enhancing their story through exceeding the narrative, the presentation and structure of the medium of film and becoming the 'it' factor that resonates with you for a long while after their story has reached its end. Simply put, they intrigue you and leave you longing for more.
Subhash Nagre is one such character. His calm, collected and graceful demeanour in Ram Gopal Varma's Sarkar carried with it a petrifying aura that froze the hardest of criminals in their tracks. His on-screen debut was bathed in fear. Not his own, but others. His story unfolded on screen not through an origin but through a glimpse into his life as he lived it. As a figure that is both revered and revolted, Subhash Nagre epitomized the notion that there is nothing to fear, but fear itself.
With Sarkar, in an escalating climate of tension, as each reel of film completed a revolution it created a flicker on the screen that stained like splatters of blood. Subhash and Shankar Nagre's tale of power in ironically, a position devoid of any given power, left you feeling like a plastic bag had been held firmly pressed against your face, slowly drawing out your last breath and then a sudden puncture allowed you to gasp for more air. When the film ended, Shankar's story had just begun.
The viewer was left wanting to know more about the Nagres, having experienced their world, and Sarkar Raj fulfils this desire leaving bullet-holes as proof.
The Nagres carve their names on celluloid residue in a grittier, edgier compendium of terror, firmly establishing themselves as one of Indian cinema's most important mafia-like creations. Operating above the law and outside the system, their power lies in people's faith in them to right the wrongs being done to them. Sarkar Raj sees Shankar now a full fledged participant in taking care of his people with blind faith instilled in him by his father, heading the organization that seeks to do what is best for everyman. His body language is more confident, his stance more prudent and he now walks like a man who the world stops for. Captured in low-angle shots, Shankar is seen as larger than life due to his drunkenness on power as a character who has risen from the ground up. This is in stark contrast to the way Subhash Nagre is now presented, more in the background like a shadow, emerging only to the forefront in the final act of the film. He is presented with many overhead shots as the overseer of all things in his land and business. The emotional arrogance of Shankar is paralleled with the respectful yet commanding presence of Subhash who understands the ideal is greater than the man. Both have a raging fire intensifying their eyes. One of experience, the other of youth.
The film's colour adds to the narrative with earthy tones setting the pace for its gritty action sequences and lighter shades shining through with the elements in more somber subtle scenes such as when Subhash Nagre is bathed in rain, cloaked in white from an open sky. The story reminds us that if you choose to walk a path that is a tightrope of razorblades, you will get your feet cut.
Performance wise, Amitabh Bachchan excels the depiction he delivered in the first chapter of the Nagre family's rule, which in itself is a difficult task given he executed the patriarchal role to perfection. This time, the highest intensity is from Abhishek Bachchan who delivers a power-packed punch of a performance that heightens the film's premise with every scene he is in. Creating a young and emotional version of Subhash Nagre, Abhishek breathes life into Shankar Nagre with the impact of an explosion. He views everything with a vendetta, not able to overcome the death of his brother and rushing headfirst into pursing what he believes is right. He sees any opposition as an obstacle and swiftly removes it. Abhishek delivers a coming-of-age performance that snatches you out of your seat with his every nuance. This is by far, the performance of his career to date. Aishwarya Rai as Anita Raj brings a sharp twist in the tale, as a pawn in the powerplay. Representing progress, the good and an angel of death, her character's journey unfolds on screen coming full circle only at the end. It is a shame her character is left underdeveloped given the integral role she plays in the life of the Nagres.
Overall Sarkar Raj is bigger, better and louder than the original essay on the power of power. It takes things further and is a study in the lure, seduction and destructiveness of power. The characters have undergone a natural evolution as a result of the occurrences of the first film ensuring Sarkar Raj is a worthy descendant of its predecessor.
With the ongoing story of Subhash Nagre's rule, it seems what America created in the Corleones and what Britain found in the Krays, Ram Gopal Varma's mafia-like saga has given birth to in Indian cinema, with the first of its kind immortal protagonists, in power but not by any given power, that will be studied for decades to come as representative of some of our most turbulent times and the best of cinema.
Sarkar Raj is released worldwide by Eros International on June 6.
Subhash Nagre is one such character. His calm, collected and graceful demeanour in Ram Gopal Varma's Sarkar carried with it a petrifying aura that froze the hardest of criminals in their tracks. His on-screen debut was bathed in fear. Not his own, but others. His story unfolded on screen not through an origin but through a glimpse into his life as he lived it. As a figure that is both revered and revolted, Subhash Nagre epitomized the notion that there is nothing to fear, but fear itself.
With Sarkar, in an escalating climate of tension, as each reel of film completed a revolution it created a flicker on the screen that stained like splatters of blood. Subhash and Shankar Nagre's tale of power in ironically, a position devoid of any given power, left you feeling like a plastic bag had been held firmly pressed against your face, slowly drawing out your last breath and then a sudden puncture allowed you to gasp for more air. When the film ended, Shankar's story had just begun.
The viewer was left wanting to know more about the Nagres, having experienced their world, and Sarkar Raj fulfils this desire leaving bullet-holes as proof.
The Nagres carve their names on celluloid residue in a grittier, edgier compendium of terror, firmly establishing themselves as one of Indian cinema's most important mafia-like creations. Operating above the law and outside the system, their power lies in people's faith in them to right the wrongs being done to them. Sarkar Raj sees Shankar now a full fledged participant in taking care of his people with blind faith instilled in him by his father, heading the organization that seeks to do what is best for everyman. His body language is more confident, his stance more prudent and he now walks like a man who the world stops for. Captured in low-angle shots, Shankar is seen as larger than life due to his drunkenness on power as a character who has risen from the ground up. This is in stark contrast to the way Subhash Nagre is now presented, more in the background like a shadow, emerging only to the forefront in the final act of the film. He is presented with many overhead shots as the overseer of all things in his land and business. The emotional arrogance of Shankar is paralleled with the respectful yet commanding presence of Subhash who understands the ideal is greater than the man. Both have a raging fire intensifying their eyes. One of experience, the other of youth.
The film's colour adds to the narrative with earthy tones setting the pace for its gritty action sequences and lighter shades shining through with the elements in more somber subtle scenes such as when Subhash Nagre is bathed in rain, cloaked in white from an open sky. The story reminds us that if you choose to walk a path that is a tightrope of razorblades, you will get your feet cut.
Performance wise, Amitabh Bachchan excels the depiction he delivered in the first chapter of the Nagre family's rule, which in itself is a difficult task given he executed the patriarchal role to perfection. This time, the highest intensity is from Abhishek Bachchan who delivers a power-packed punch of a performance that heightens the film's premise with every scene he is in. Creating a young and emotional version of Subhash Nagre, Abhishek breathes life into Shankar Nagre with the impact of an explosion. He views everything with a vendetta, not able to overcome the death of his brother and rushing headfirst into pursing what he believes is right. He sees any opposition as an obstacle and swiftly removes it. Abhishek delivers a coming-of-age performance that snatches you out of your seat with his every nuance. This is by far, the performance of his career to date. Aishwarya Rai as Anita Raj brings a sharp twist in the tale, as a pawn in the powerplay. Representing progress, the good and an angel of death, her character's journey unfolds on screen coming full circle only at the end. It is a shame her character is left underdeveloped given the integral role she plays in the life of the Nagres.
Overall Sarkar Raj is bigger, better and louder than the original essay on the power of power. It takes things further and is a study in the lure, seduction and destructiveness of power. The characters have undergone a natural evolution as a result of the occurrences of the first film ensuring Sarkar Raj is a worthy descendant of its predecessor.
With the ongoing story of Subhash Nagre's rule, it seems what America created in the Corleones and what Britain found in the Krays, Ram Gopal Varma's mafia-like saga has given birth to in Indian cinema, with the first of its kind immortal protagonists, in power but not by any given power, that will be studied for decades to come as representative of some of our most turbulent times and the best of cinema.
Sarkar Raj is released worldwide by Eros International on June 6.
posted by Blogman at 2:08 AM
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