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Sonchiriya
Director: Abhishek Chaubey
Performer: Sushant Rajput Singh, Bhumi Pednekar, Ranvir Shorey
Note: 3/5
in Sonchiriya, State of nothing and a young boy explains how badly Hindi cinema describes dacoits. "Imagine," said the boy, sitting in front of a dilapidated theater, "show them horses!" The idea itself is laughable for them, even if our drunken Western cinema persisted with anachronistic equine images – especially in the 60s and 70s, when daku movies made the law.
Founded in 1975, Sonchiriya speaks of rebels and ravines in Chambal, but without the usual pitfalls. Everything is hardcore, from the language (Bundelkhandi, which requires subtitles) to laughter. The only time a Dacoit throws his head back to laugh has nothing to do with Gabbar Singh of Sholay; laughter here comes from devastation and heartache.
Watch Sonchiriya's trailer:
The Laughing Man Optimistically Appointed Vakil Singh, Played By A Phenomenal Ranvir Shorey, Throwing His Head back to face the futility of his life and his fight. The word "baaghi" is better translated as "rebel" instead of "dacoit" or "bandit", but what is their cause? The film poses the question very early, a character reciting so many words: "If the policeman's dharma must catch the rebel, what is the rebel dharma?"
The question is charged, and while the film provides answers possible for reflection, it does not engage them deeply or philosophically. A breathtaking shot by Anuj Rakesh Dhawan, it may be Chaubey's best-conceived film, but it is superficial and unnecessarily meticulous. For example, the characters tormented by the ghosts of their guilt see these ghosts frequently and simultaneously, as if they were haunted to the same degree.
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Ashutosh Rana plays the brutal cop chasing the bandits.
The story is simple, about many outlaws fleeing. The actors are a thrill. Shorey is right, as is Sushant Singh Rajput, playing a man called Lakhna – a name that can automatically condemn the wearer to banditry – uncompromising and restrictive, even though his idea of duty may change at any time. Manoj Bajpai is excellent as a rebel leader, arranging a wedding with the ease of a professional who sheds light on his routine, while Bhumi Pednekar, a desperately spirited woman on the run, holds his firmly.
A salvo of applause for Ashutosh Rana, the brutal cop chasing bandits. Rana, a good actor, has reappeared more often in our cinema – Mulk, Dhadak, Simmba. It's great to find him in the band, an actor who makes small plays feel essential. Can we call it Rana-issance?
Bhumi Pednekar plays a desperately brave woman on the run and stands strong.
Chaubey has always brought us interesting faces. Among the bandits, there is one who is loosely blond, as well as one who looks like Kratos from God Of War video games, and a terrific performer the size of a pint plays the most iconic role and explodes to l & # 39; screen. (I can not tell you what the role is, but you'll know it when you see it – just pay attention to the big line about loose men measured for lehngas.)
The action is meticulously choreographed, with Chaubey continues to display his love for Mexican clashes and dialogues feel authentically naked. There is time, the film plays wonderfully with the tension, but a pretentiously slow pace drops it. Men may not be on horseback, but the dramatic triggers drawn by the story are stubbornly old school and film.
Sonchiriya claims to be a band of outlaws looking wild from a golden bird – but this bird is perhaps only a goose. The film reviews the themes of caste, gender, religion and politics and turns out to be a film about the desperation to belong to something greater than oneself, the burning desire to believe in Something. Even birds of prey have to pray.
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First publication:
01 Mar 2019 08H16 IST
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