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Performer: Hrithik Roshan, Mrunal Thakur
Director: Vikas Bahl
Rating: 2 stars (out of 5)
The protagonist of Super 30 a Patna hero who makes complex concepts ludic and accessible to aspirants IIT impoverished under his tutelage, is himself a socially and economically disadvantaged man who has fought against prejudice and deprivation to achieve an enviable academic success and reverse the situation of many other people like him. The story of real life Anand Kumar should have been added to a corresponding cinematic triumph. It's not. Super 30 is too simplistic and too fancy when it is not downright tasteless.
The subtleties of life and the dynamics of reality are only peripherally important in what has the potential to truly be elevation, enlightenment. A saga of the oppressed who engage in an unbalanced educational system and succeed in surpbading themselves. Except for a touching moment here or an inspired touch there, which are anyway too rare, Super 30 fails to draw the public into the world of characters it defends because it does not that fly over the surface of a mbadive mbad of tangled problems.
In one of the excuses presented at the end of the second half of the film, the film fleetingly evokes a theme that required a much greater elucidation: the debate on positive action against meritocracy. Anand, who is bleeding heavily from a gunshot wound, is transported to a hospital. The duty doctor shows no sense of urgency. An angry peon threatens to use physical force to force the doctor to come out of his shocking apathy.
The injured brother's brother begs the hospital staff member not to take charge of himself. The latter retorts: he deserves this treatment because he is a "doctor in gift", which implies that the man who plays the hooky has a degree in medicine acquired through the power of money. This is an accusation that is clearly made with the intention of countering those who blame the failing health system for reserving a caste. Although the Dronacharya-Arjuna-Eklavya episode of Indian mythology is evoked on one occasion elsewhere in the film, Super 30 carefully minimizes the angle of discrimination between castes.
The precision of the figures escapes the Vikas Bahl-film achieved by a significant margin, resulting in a drama too cooked, sloppy, disproportionately stretched, which never holds its arithmetic despite its topicality. This is not surprising. The main filmmakers of Mumbai, trapped in a network of old habits and outdated notions of commercial viability, are terrible at capturing the nuances of the personalities who live, breathe and still work among us. Super 30 which is another failed Bollywood biopic, does not do anything either to dispel the well-founded fear, but it does not prove it any less than Bhaag Milkha Bhaag and Mary Kom did.
Super 30 tells the story of an agent of change and its beneficiaries with broad and disproportionately unbearable traits, in a market trivializing the scale and purpose of hero's struggles. Anand must wage war on several fronts. He is a man with limited financial means. He must attack an education mafia that has the blessing of powerful politicians. And, last but not least, it must take into account the cleavage clbad / caste that prevents young people born on the wrong side of the path from making their way to the IIT entrance examination.
But given the sloppy way in which the story is told was to be spiced up with whimsical dramatic tropes, Super 30 is not able to draw a compelling picture of Anand Kumar and his protégés, young people struggling to get rid of the misfortune of being born in poverty and the social background
Hrithik Roshan is almost as horribly misplaced as Anand Kumar that Priyanka Chopra was also Mary Kom. It is not that the main actor does not give the whole role. His enthusiasm never announces. However, her dark skin tone and Bihari's offbeat accent, which fluctuates wildly, prevent the genuineness of playing.
One can not look puzzled that 30 disadvantaged teens (played by actors who seem much more the part than the superstar who top-line casting, which of course does not say much) are conducted repeatedly in situations absolutely ridiculous. Everything is designed to mythify a real hero so that he becomes a problem solver for comics.
The second part of the film, which begins with the first group of 30 students who cast their worries and cast their fate behind Anand Kumar, is reduced to outright farce. Ladaai (fights) eclipses the padhaai (studies). First of all, there is a competition between Anand's protégés and English-speaking students from a coaching academy for the rich, in which the former group plays Sholay scenes in a musical piece with songs and dialogues in English pidgin, supposed to help the children get rid of their linguistic inhibitions. And then, in pre-climatic moments, Anand's wards use their lessons learned in the clbadroom to hold back, hold your breath, a bunch of morons sent to eliminate their beloved guardian.
The main villains of this sinister tale are loquacious education. Minister Shreeram Singh (Pankaj Tripathi) and Profit Teacher Lallan Singh (Aditya Shrivastava). Neither one nor the other are allowed to be anything other than caricatures, as a result of which two quality actors are wasted in order to create conflictual conflicts to advance the drama.
At the beginning of the film, the Minister of Education hands a medal to Anand Kumar – Hrithik Roshan, 45, strives very hard to look like a young scholarship scholar – and promises him financial support for higher education. When Anand receives a call from the University of Cambridge, he and his father factor (Virendra Saxena) present themselves in the politician's janata durbar in an attempt to take him on parole. But the father-son duo is not progressing and Anand's dream in Cambridge is stalled.
Things momentarily improve when Lallan Singh finds Anand selling papad in a street in Patna and offers him a post of renowned mathematics teacher. Coaching Institute in full swing. The circulation of Anand 's money improves considerably. His younger brother Pranav Kumar (Nandish Sandhu) is delighted. But Anand decides to leave the teaching store when he sees a boy in need solving math problems under street lights. His free training center was born, triggering skirmishes with Lallan and his men.
The erratic scenario of Sanjeev Dutta builds the narrative around the reminiscences of a former student of Anand Kumar, Phugga Kumar (Vijay Verma), who is in London in 2017 to receive a prize, but how does the young student know about the most intimate details of the life of the influential teacher, including the charm of the man with a girl (Mrunal Thakur) of a family much richer than his, is never explained. All that the film is ready to say, is that the son of the balloon seller (hence the name Phugga) left the first batch of Anand Kumar to return to the room. clbad the following year.
The director of photography, Anay Goswami, does his best. to give a touch of tangibility to the settings of the ersatz. Super 30 was shot in studios and not in real places. Do not look for real pictures and smells of Patna. This is one of the key issues of Super 30 : it tells a true story, but it never rings true. Nothing in the film is less convincing than the main performance. The idea of tanning Hrithik Roshan so that he can imitate Anand Kumar is anything but super: it's a formula that is worth zero.
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