Shagird – Film Review
Posted by FATEMA H.KAGALWALA on May 14, 2011 | No Comments
PRODUCER – Hussain Shaikh
DIRECTOR – Tigmanshu Dhulia
WRITER – Tigmanshu Dhulia, Kamal Pandey
CAST – Nana Patekar, Anurag Kashyap, Mohit Alawat, Zakir Hussain, Rimi Sen
MUSIC – Abhishek Ray
It is difficult to say if the film is confused or confusing. Racy plots and twisted characters make Shagird a pot-pourri of sorts, leaving one wondering what was that it originally set out to do.
Mohit (Mohit Ahlawat) joins the crime branch under Hanumant Singh (Nana Patekar) and becomes his ardent pupil. Hanumant Singh is no fighter-for-justice policeman. Mohit refuses to join Nana’s game of money-looting and playing soldier to the equally corrupt Rajmani (Zakir Hussain), a Cabinet Minister. A plot involving Bunty Bhaiyya (Anurag Kashyap), a dreaded criminal, (name) Rimi Sen, a journalist and Mohit’s love interest, lots of hostages and dead bodies follows to little avail.
The film has a tight and layered screenplay, Tigmanshu Dhulia’s forte but it goes overboard on balancing quirk, suspense, drama and the plot. It finely details the internal machinations of politician-police nexus although with a single pair of Hussain and Nana. Therefore what begins as an interesting glimpse into a corrupt and dysfunctional world becomes a mere story of two men with agendas. Hanumant’s cleverness as he master-minds game plan after game plan becomes a little confounding even as Bunty Bhaiyya’s bravado and subsequent whining remains unconvincing. Mohit’s change of character harks to a planted childhood insecurity but the suddenness of it is merely convenient.
The presence of Nana Patekar and Zakir Hussain’s fluid performances amp up the films watchable quotient even as Mohit Ahlawat tries hard to measure up sometimes successful, sometimes not. Rimi Sen’s character is purely functional and so is her performance. Anurag Kashyap is, unfortunately too puppy-faced for the role he is cast in and his performance does not make up for the gap. The tightness of the script and sure direction makes the film cohesive but neither challenging nor satisfying as far as crime-suspense thrillers go. The climax is a knock on the door’s of irony of life a-la Johnny Gaddar but the elaborate set-up makes it seem totally out of place.
Nana gets to go a bit beyond his stereotyped eccentricity even though he still stays in the same territory. For his and Tigmanshu Dhulia’s fans the film may work well. For the rest, well.