Rang De Basanti Language:HINDI
Director:Rakyesh Mehra
Producer:Rakyesh Mehra, Ronnie
Screwvala
Cast: Aamir Khan, Siddharth,
Madhavan, Sharman Joshi, Kunal, Soha Ali Khan, Alice Patten, Waheeda Rehman,
Atul Kulkarni, Om Puri
Music: A.R Rahman
Lyrics: Prasoon Joshi
Screenplay: Kamlesh Pandey
SYNOPSIS
TRAILERS & VIDEOS
STILLS WALLPAPERS
SCREENSAVERS
REVIEW
DISCUSSION
Review
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By GaRaM
Check this dialogue
''ek paav past mein, ek paav future mein, isi liye hum apne present par moot
raha hai'' (one leg is on the past, one on future, that's why we are pissing on
our present). And when Aamir utters it in a frivolous fashion onscreen it
sounds more tongue-in-cheek than cheesy. As original as this dialogue, Rang De
Basanti dabbles with the past and the present of this country for a progressive
future.
Widely promoted as a 'not-another-period film' by Aamir Khan, RDB has its fair
share of pre-independence footage as well, but its amalgamation with
contemporary times is what makes the film different from being another
historical episode. It's more about learning from history than just teaching
history.
The movie opens to the hanging of Bhagat Singh in the 1940s and transfers
itself to present-day London where a smalltime filmmaker Sue (Alice Patten)
wants to make a documentary film on the autobiographical diary of her
grandfather who was a soldier in the British Army.
Unable to find funds in UK she arrives in India where she comes across a bunch
of students from the Delhi University and finds the cast of her film in them.
Initially reluctant, she convinces the group to play freedom-fighters Bhagat
Singh (Siddharth), Chandrashekhar Azad (Aamir Khan), Rajguru (Sharman Joshi),
Ashfaqullah Khan (Karan Kapoor) and Ram Prasad Bismil (Atul Kulkarni) for her
document-drama dream. Through the making of the film, these directionless
students are imbibed with a sense of responsibility towards their country.
From the outer surface, RDB may appear like another film on the
'fight-against-the-system'. But it looks at the scenario from the point of view
of the present generation youth who has lost all hopes for any improvement. So
the approach is more realistic than being melodramatically filmi, to which the
audience can relate with.
Audiences familiar with recent films like The Legend of Bhagat Singh will
undoubtedly have a sense of deja vu as a major portion of Bhagat Singh's
history is recreated in the making of the documentary in this film. But the
beauty of the script lies in the way in which writer Kamlesh Pandey draws a
parallel between the past and the present. The screenplay in the second half is
essentially and intentionally inspired from pages of history. Like Madhavan's
MIG airplane crash is shown analogous to the death of Lala Lajput Rai, the
killing of the defense minister is equivalent to assassination of Saunders by
Bhagat Singh and finally the group accepting its crime without any guilt in the
climax set in a radio station is akin to Bhagat Singh surrendering to the
British in the parliament. The under current of the film is what Bhagat Singh
would have done if he was alive today.
RDB adapts a rather unusual format of screenwriting and the sequencing of
scenes too, is quite odd with the scenes shifting from historical to
contemporary setting in alternate frames. The merging of the scenes is too
smooth and subtle for the audiences to instantly realize the change of the era.
The only fact that distinguishes the past scenes from the present is the sepia
tones dappled in the frames and the costume designs. The editing is flawless.
Cinematographer Binod Pradhan uses disturbing camera movements to signify the
rebellious youth from college, sepia tones to recreate history and grainy
effect to capture the glory of Delhi. A R Rehman's music precisely captures
both, the enthusiasm of the youth and the flavor of patriotism.
The interesting part of Rang De Basanti is that despite being an Aamir Khan
movie, it doesn't end up being 'just' an Aamir Khan film. Aamir's presence
doesn't dominate or overshadow other members of the cast (like is the case with
usual Aamir movies). Every character in the film is well-defined and their
screen presence is justified. You as much like the charm of Sharman Joshi as
much as the intensity of Siddharth. Kunal Kapoor's sincerity is as much
appealing as much as the fire in Atul Kulkarni. British actress Alice Patten is
poised and never appears to be fake even while mouthing Hindi dialogues.
Needless to add Aamir Khan is superlative. From getting the Punjabi accent
correct to transforming into a responsible citizen from a flippant ex-college
student, Aamir gets all the nuances of his character perfect. See him bursting
into tears in the pre-climax and you will notice one of the most natural cries
of a male performer onscreen.
Finally the major credit of Rang De Basanti goes to director Rakyesh Omprakash
Mehra. Despite attempting an odd screenplay layout, non-chronological editing
pattern and a semi-periodical genre, he still succeeds in gripping the
audience's attention. That's because he is convincingly able to interpret his
vision onscreen. The movie has one of the best written and executed climaxes in
recent times. And imagine the director incorporating the mellow number
'Rubaroo' in the climax when the movie reaches at the peak of its rebellious
revolution. While the audience would have least expected the peppy track in
such state of affairs, it still wins your approval. Lastly Mehra should be
applauded for fleshing out each of his characters precisely and justifying
their screen presence. To top it all, he even had the capability to convince
Aamir to be part of such a well-sketched multi-starrer.
http://www.nowrunning.com/film/review.asp?movieNo=2150&mv=Rang%20De%20basanti
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