The arrogant performance of Nawazuddin Siddiqui can not hide the blatant chauvinism of "Thackeray".

Bal Thackeray sorry Balasaheb Thackeray (in the film, an unsuspecting character gets slapped by a Shiv Sena executive for pronouncing the name of Demi God without the respectful suffix) played the chauvinist card with a genius accent. He knew how to exploit the latent pride of the Marathi Manoos and how to exploit it in a violent outpouring.

Many of his opponents, including the unfortunate Morarji Desai (unhappy, played by Rajesh Khera), thought of his campaign. clean up Maharashtra as a near-ratification of Nazi Nazism.

Think of the Jews. Think of the "bhaiyyas" of Bihar and UP, as well as the restorers "Udupi" of southern India, driven out of Mumbai by violent "sainiks". Think Hitler. Think Trump. If you see the difference, let me know.
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The film on Balasaheb certainly does not miss the opportunity to portray man as being infinitely intolerant of migrants. Yes, the big man wanted scum out of his condition. It was well known that he was indeed in favor of ousting Maharashtra migrants. But did anyone ever think that his flagrant chauvinism and his policy of ethnic cleansing would one day be shamelessly celebrated on celluloid?
Screenwriter and director Abhijeet Panse celebrates Balasaheb's spirit of separation with a franchise that immediately recognizes us as a sign of traditional law sanctioning certain "normal" behaviors among men.

Just as it is "normal" for a woman to fry pakodas (donuts) in the kitchen while men make badist jokes in the living room, it is "normal" for a national leader to make blatant speeches on the "bajoing the pungi of people in a lungi". (The censorship committee has, of course, forgotten that the Constitution allows freedom of expression only if it does not harm the feelings of any community or individual.)

For foreigners – and who is not allowed to do so. is not a stranger these days – the normalization of cultural marginalization may seem to be a celebration of a culture of anarchy and despotism.

Sanctioning mbadacres is not something we badociate with charismatic national leaders. But here he is, Nawazuddin Siddiqui playing Balasaheb as a man wanting Maharashtra only for Marathis.

Siddiqui plays Balasaheb as an impatient intolerant man with many words and even more action. At first, we see him leaving his work as a draftsman to create his own Marathi diary. In the Maharashtra of Panse in the 1950s, migrants everywhere are scrambling to push and intimidate Marathis in the street and withdraw their jobs. Something must be done and who is best armed to tap into marathi pride with a hammer?

Apparently, incendiary speeches are all used in the film, just as the Great Man did them. Balasaheb had a hypnotic hold on the audience. Nawaz seems to think that he has a similar influence. In his latest film, he recited the revolutionary thoughts of Saddat Haasan Manto with fervent lucidity that gave the actor a sense of ownership of words. Here, Balasaheb's speeches seem deeply ironic. An actor has been marginalized on many levels at different stages of his life.

Nawaz and the director chose to ignore the irony of an ethnic leader, claiming that the nation was still dear to him.

"I always say first Jai Hind, then Jai Maharashtra," Balasaheb proudly tells Nawazuddin to Indira Gandhi, from Avantika Akerkar.

The arched eyebrow of this statement is truly a decisive moment in a movie that legitimizes hooliganism elevates extra-constitutional muscle strength to the heights of validation. There are some interesting unknown actors who play the devotees of Balasaheb and I love the veteran who plays the role of his father and makes fun of his son's name in a way that no one would dare.

Nawazuddin plays the role of caricaturist-politician-divinity with the cunning flippancy of an overly confident actor who is justifiably arrogant about his skills. The other actors, including poor Amrita Rao, shady wife of the Great Man, parade in the gallery of bhakts and celebrate the cult of thackérayisme with religious fervor.

When you think about it, it could have been a great mythological film. if only there was less violence and bloodshed. But hey, there is also redemption. After a violent community riot, we see Balasheb bring a Muslim family home. It even allows the man to do his namaaz in his living room.

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