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Someone said: "You are the protagonist of your own story," and this has been the case with Rajkumar Hirani's recent film, Sanju, co-written by Abhijat Joshi.
Hirani's reluctance to come out of a story where he masks a complex problem with humor, just like his previous films ( Lage Raho Munna Bhai and PK ) left the audience perplexed and with a multitude of unanswered questions – especially whether he was a terrorist or not.
While the film is criticized for not delving into the many aspects that have shaped the real Sanjay Dutt – his many badual escapades with women, especially actors in the film industry; his first marriage and his children; and the role of his sister Priya Dutt in getting him out of prison – it's also important to understand that 162 minutes is not enough to show all the significant threads that blend into a complex and multilayered network that Sanjay Dutt's life. And that is the problem with the film. It is simplified to the extreme and unnecessarily melodramatic.
While Hirani attempted to briefly touch the milestones of Dutt's life, he was not able to do them justice. The first half of the film establishes the character of Sanjay Dutt, a snot who is so overwhelmed by the legacy of his parents that he escapes into the drug haven. His parents – Sunil Dutt and Nargis – were both outstanding public figures with an illustrious career in the Indian film industry. Again, Dutt Sr. humiliating him on the set of a movie and his deceased mother due to illness is absolutely no reason for him to drug himself, but was the reason for being Sanjay Dutt. Also, it was the accessibility of these drugs to a poor, rich little boy who was probably delusional and wanted to stay away from reality.
Dutt's relationship with his father was a parallel plot in the film and not only did it evolve during the film's run, it also underwent a metamorphosis. Meanwhile, his affection towards his mother is briefly treated.
Now there is the serious crime – the possession of the AK-56 rifle and its alleged links in the Bombay case of 1993. You have to put some points in perspective before you jump and call it " 39; & # 39 ;. terrorist Back in the day, the discreet links of Bollywood biggies with the underground world were more common than they were tolerated. Among these producers were Samir Hingora and Hanif Kadawala of Magnum Videos, who had signed Sanjay Dutt for their film Sanam . It was about the same time that Dutt was introduced and, later, probably attracted to the underworld, perhaps under pressure from social obligation.
However, to say that Sanjay Dutt did not know exactly what he got from "someone called Salem" and later destroyed, would be naïve. Sunil Dutt, a congressional MP, was effectively threatened following the riots that shook Bombay in March 1993 after the demolition of Babri Masjid in 1992. But, seek asylum in the underworld and illegally remove them from weapons was … Let 's just say that this is not the brightest idea.
He may have been unaware of the plot of the 1993 bombings, which killed 257 people and injured more than 700, but he could not ignore the fact that he shared the camaraderie with the conspirators. explosions – Dawood Ibrahim and Tiger Memon – even if reluctantly.
In April 1993, Sanjay Dutt was arrested under the TADA (Anti-Terrorism and Disruptive Activities) Act and the Weapons Act. However, in November 2006, the TADA discharged charges under TADA and held him guilty of unlawful possession of the AK-56 rifle. He was convicted under the Weapons Act for six years, which was later reduced to five years by the Supreme Court. Dutt has been conditionally released and fired on a number of occasions.
So, Sanjay Dutt paid for what he did. Now, that he is responsible for his bad decisions or that he has been a victim of circumstances depends on the narrator of the story. And considering, in this case, it is a close friend Raju Hirani, I expected nothing different. Sanjay Dutt is the protagonist of this story and the film is a projection of his perspective, something that Hirani establishes at the very beginning of the film.
And no, it would be unfair to call it a hagiography because under no circumstances was Dutt shown as a saint, but it would be unfair to call it a biopic all the same.
With respect to smear media in the film, it was not advisable to taint the entire industry throughout the film. Hiding journalists from their credibility by a very silly song at the end of the film was irresponsible on Hirani's part. Some journalists might have sensationalized Dutt's arrest by altering the facts to suit a story that might give them a title, but is not that exactly what Hirani is doing in the film as well?
Ironically, Hirani selectively dramatizes facts that elicit public empathy and sympathy for a wild child who has taken more than a few bad calls, in an attempt to portray Dutt as a "good guy". Before blaming the media for everything that went wrong in Dutt's life, Hirani must realize that there is no smoke without fire.
Turning to the aesthetics of the film, the sound design is rather messy and unnecessarily melodramatic. Emotions are tears of opioman. Ranbir Kapoor is fused in the character of Sanjay Dutt seamlessly – following his idiolect and gait with strange precision. Vicky Kaushal, who played the character of Kamlesh, the supporting pillar of Dutt, has surpbaded himself in the film and is the only one to possess the ability to steal the thunder of Ranbir Kapoor in the film. Paresh Rawal has made a brave and commendable attempt to recreate Sunil Dutt, although the personality and nobility of Dutt Saab can hardly be encapsulated in a character. Meanwhile, Anushka Sharma was a bit disappointed as the character of a blue-eyed British expat Winnie Diaz who was Hirani's attempt to recreate his character, the one who puts everything on record.
Despite criticism, the film is a must and will certainly stir your brain while you get a glimpse of the tumultuous and turbulent life of the beloved Bollywood Munna Bhai .
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