Sarcore

A film-maker who champions the cause of hard-hitting cinema (opposite of candy floss), an actor whose potential still seems as unexploited as the gas reserves of India and an inspiration that is possibly the grittiest story written by man. When you combine the three you expect a blockbuster unparalleled. One doesnt get that but one comes out feeling that the director gave his best. Right from the first scene where an old man whose daughter had committed suicide post rape comes to Sarkars den to seek justice, you are captivated by the screenplay by the ace director. The altercation scene between Sarkar and his errant first son on the dinner table, the meeting between Sarkar and Rashid the other goon who wants to trade in narcotics are brilliantly shot. Unlike Godfather, Sarkar is a Robinhoodized do-gooder/ a parallel system like his son describes him. Abhishek Bachhan as the second son who returns from the USA fits the role. Even the romantic angle between Abhishek and Katrina is given good scope. Just as the first half is rivetting and predictable, the second half is exceedingly tame. The climax and the decimation of Sarkars villains is too hurried. I wish Ramu had taken more time of the audience. In trying to adapt the Godfather, Ramu puts in a Chandraswami , a dude as Rashid the main villain and Silvermani as a caricature as an assortment of villains against the Sarkar. Somehow the movie ends as a promise not delivered. To be fair to Ramu, the Godfather has been made in different shapes and sizes by Bollywood throughout the 80s and 90s. And Mani Ratnam's Nayakan was a brilliant adaptation. Also Ramu has delievered hits like Shiva, Satya and Company which dealt with the underworld. The story had to be trite. But the execution and performances are flawless. Ramu is necessary in Bollywood to contain the excesses of Karan Johar and Yash Chopra. Sarkar the movie was necessary just like the protagonist's parallel system.