A Shot from Oblique Lens . Review on Saheb Biwi Aur Gangster Returns

Times have lapsed when there was a Cinema which was termed as “Parallel Cinema” or “Art Film”; there would be few cinegoers to it, with limited shows and movie halls. With the Emergence of times “Oblique Lens” emerged, something which is a cross between commercial and “sensible” film. An Oblique lens will never say the Obvious! It would not go for explanations, and get into the drudgery of having a setting which is pre-set.

Tigmanshu Dhulia has gained the expertise in such genre of Cinema! While I could not get an opportunity to view the Initial part, I knew I was surely betting on this one. For preliminaries, because Tigmanshu and Irrfan duo had caught my appreciation right from “Paan Singh Tomar”. The way the arid lands and its nature are well depicted, his complete R&D in knowing the characteristics of the locale. In “Saheb, Biwi Aur Gangster Returns”, Tigmanshu again brings out a similar nuance of this domain , hospitable as it might occur, but hides centuries of blood,gore,revenge and politics. The loosening hold of Rajwaada tradition, the ego-political battle, insecurity from democracy and so forth. To say that it has few similar shades from “Gulaal” would not be an exaggeration. Here is a cinema which starts on a slow pace, picks up the crescendo and climaxes on the brilliance of an excellent Script!

As I mentioned that the Oblique lens of the Cinema is also depicted in the Characters. No explanation is offered for their behavioral pattern. Especially the character sketch of Irrfan Khan, an ambitious-jilted-from-his-royalty-trying-to-regain his dignity clashes with the ultimate of the Movie. Similarily Mahie Gill brings shades of Grey, leaving you wondering that is she a foolish-jilted-intelligent or just circumstantially-lucky! Jimmy Shergill is brilliant in his act too, bearing a fear in his mind of losing his hold over his kingdom and personal life. You see a vulnerable strength to him as he snarls “Abhi hum marre nahin hain, aur yeh ghar museum nahin hai”. Soha Ali Khan never gets the screen space to perform something extra-ordinary , yet is an important thread to all.

The noteworthy point which this sort of movie brings out is that the Good and the Bad, the Saint and the Devil exist in one. In extreme minute details you realize that Politics exists everywhere, not as a skeleton in the cupboard, but live, breathing and roaring its head high!

To the point that even a classic like “Lag ja gale ki phhir yeh haseen raat ho na ho..” is just another political stunt.