The first thing that struck me when the movie began was that this film will be about the prodigal and proverbial Karna. Even if the role of Suraj, essayed by Ajay Devgn, did not enjoy as much space in the screenplay, at the end of the film, just as at the end of every translation of the Great War, Karna emerges as the one more sinned against than sinning. Somehow the story is always about that one character, one that stays with you much after the everything else about it had faded away.
<*Spoiler alert*>
Prakash Jha's film promises a power-packed cast with performances by some of Jha's usuals. Jha tries to step out of the mould of earlier Bihar-centered films like Apaharan and Gangajal. At the very outset, I must admit that it is easy to be disappointed at the lack of precision and originality that is usually the hallmark of Jha's films. This film is caught somewhere between the rajneeti of the Mahabharata and the Corleones of The Godfather, a modern technological rendition. It hits out at dynasty politics (especially with relevance to the current political scene), calling into question, undermining and subordinating family, relationships, trust, loyalty and love to the quest for power, gaddi, paisa.
Nana Patekar, as the willful and cunning Krsna (or Tom Hagen), guides the fortunes and misfortunes of the Pratap clan (who could just as well be Shakuni mama). Arjun Rampal is the hot-headed, unscrupulous political leader, who like the blood-thirsty Bhima (with a heart of gold) or the short-tempered and careless Sonny meets defeat and an unfortunate end. Though, Rampal's acting leaves much to be desired, his diction and dialogue delivery lacking the power and conviction of his contemporaries in the film, especially the seasoned Manoj Bajpayee. But the film belongs to Ranbir Kapoor, ably supported by Katrina Kaif. She has certainly put in alot of effort into the role, especiallu with her accent. Kapoor is almost a revelation, exuding poise, control and a calculating demeanor (of the kind that reminds one of the scheming Iago, and its more recent avatar - Langda Tyagi). But somewhere his PhD persona is lost - the scholar studying the 'subtextual politics of the 19th C Victorian poetry'!) to the machinations of satta.
Two scenes stand out in particular reference to The Godfather - one, where Babulal the loyalist wakes up with his partner murdered next to him and his body covered with his blood. This is reminiscent of the severed horse's head which is used to convince Woltz for a part in the movie. Second, the car blast that kills Rampal's and Ranbir's fiancee's characters.
The film, however, pays only lip service to political struggles, which exist as subtexts. For instance, Devgn's character as the Dalit spokesperson has implications within the field of characterization in the film but does not address any real concerns. Nasseruddin Shah is wasted at the beginning of the film with only one speech (and one kiss) of worth, as he sets the turning tide of destiny into motion. The jhola politics of the left clearly have no place in contemporary politics.
All in all, I would see the film for Ranbir, if for nothing else. And of course to add another tale to the already burgeoning compendium on the versions of Karna.
