Dosti, Dushmani aur Badla. Masala phillum. Review on Bullett Raja

Dhulia's kind of films are what I love most about Bollywood. A dramatic representation of India and it's most interesting denizens, caught in  the unique socio-political dimensions of this democracy. When I first saw the promos of Bullet Raja, I had no wish to see it. I like Saif, but not in this Avatar in 'mainstream' cinema. I dislike Sonakshi. But then I heard Tigmanshu Dhulia is directing it. No questions, of course I was going to see it. Then I heard my favorite reviewers criticizing it and rating it a measly two and a half stars.

I am one of those people who DO take reviews (except the TOI kind) seriously. So I baulked. But only for a few seconds. I managed to read between the lines of both reviews and felt that Rajeev Masand did call it an 'easy' film to watch. So of course, I watched it. Both reviewers said the first half was terrific. They were absolutely right. I thought the second half was awesome too. I simply loved this film. It's not as good as either of the Sahib, Biwis or as Paan Singh. But it IS way superior to the ghastly, unreal concoctions, Bollywood churns out.

What I most detest about Bollywood is that a majority of its films have a Hollywood hangover. The people and situations and dialogues they portray are so far removed from the Indian context that it makes "escapist" cinema sound like a deceptively mild diagnosis of a virulent disease.

The escapism of the seventies and prior was tolerable because it still spun essentially Indian tales. The staples: the poor hero, the coughing, blind mother, and the-vivacious-to-the-point-of-idiocy heroine, were all quite cute. Everything declined precipitously after that. Today our films consist of westernized glamor - insecurely body-aware characters who dress like New Yorkers and have the regressive notions of zamindars, all abounding in a multitude of colors. Freshly painted objects - both animate and inanimate. I know, I digress. So.the phillum.

Dhulia gives us an atmosphere of small-town UP with a perspective and insight that keeps us engrossed. I feel like am getting to understand a real place with a fascinating lingo and milieu. The dialogues- isn't that a basic criteria for an entertainer? Dhulia has a consistent flow of such dialogues. Macho, cocky, and brash. There are also lots of comments that reflect caste. I wasnt sure as to why they were said so airily. "Brahmin bhookha toh Sudama, rootha toh Ravan." Does it mean to reflect an authentic manner of speaking or does it endorse casteism that continues to knife progress, especially in Bihar and UP? I hope, the former. Because one of the most touching moments in the film was when Jimmy Shergill tells a Maharashtrian in Mumbai that Rani Lakshmibai of Jhansi was a Maharashtrian. I didn't know that! He goes on to say that many Maharashtrians live in Benares in harmony with others. It was a subtle, brilliant barb against divisive politics.

The film is dotted with such nods to the history of the places it finds itself in. From Mayawati's self-promoting statues, to Calcutta's trams, ambassadors and Communists. Even when Dhulia puts in a piece of Chopra-Johar filminess, he quickly and thankfully reverts to his own voice. I was astonished to see rows of fresh yellow taxis in freshly painted Calcutta (huh?) with the colour-coordinated lead pair singing away under Gulmohar trees. But in the very next scene, Saif is pulling a rickshaw on which Sonakshi is perched, against a backdrop of the real Calcutta.

Jimmy Shergill, Dhulia's favorite actor, is so likable that you want him to be the lead. But Saif is extremely competent, even out of his comfort zone, and I thoroughly enjoyed his rendering of the charming rascal. Vidyut Jamwal's stunts and looks are well leveraged. He leaves much to desire in terms of acting, but let's hope he improves. The basic requirements of the good-looking, swaggering, fist-happy, macho man, he has in plenty. Sonakshi plays out the Hindi film heroine with no problems and no challenges. Mahie Gill is wasted in a dumb item number again. That song has a standard Ukrainian bevy swinging their slender and all-important gora hips to a bunch of leery, portly, sleazy men salivating around them. Never mind that. It's over in a blink.

The film is a great watch - go for it. Unless you find mention of Indian politics and its social implications, a big yawn. Then, you'd better watch rich Indians toting brands and sporting six-packs while in high school. Or another of those record-breaking hits that ooze with sexist innuendo.;)