RANGOON is a tale that takes the most of the tangent of two incomplete circles. It ceases on expectations of either being a Love Story or a War Period drama, and without disappointing us, delivers a magnificent blend that is a bar raiser.
The darker than the blood colored logo of Vishal Bhardwaj’s (VB) Pictures is up on the black canvas to call the shots. The acronym’s decoding is a mystery to the common moviegoers as much as the readability of the logo.
Director-cum-composer Vishal Bhardwaj is the voluntary brand ambassador of William Shakespeare and has enlightened us more about his work than any medium ever did / can. Known for his works which are as deep as the dry tube wells, that run more on expectations than water, and with meanings as high as ISRO can eye for.
While the script on paper sounds devastatingly hollow and incomplete, the meanings embedded are as astonishing as usual.
The craftsmanship that Vishal carries will always hold the darkest corner of the room, where the gaze of a common eye, brightened in the sunshine, will cease to reach. RANGOON touches the unspoken but known to all compromises between Ahinsa and INA, USA and USSR, the colonial unrest, the exploitation, and the agitation amidst the Akhand Hindustan.
Richard McCabe as “General Harding aka David” is the sole runner from the supporting cast who reaches the mark. Though the show of “Goraas” in Bollywood is as stationary as the display of India by Hollywood, he, in spite of being the show’s orator, is a wasted asset.
The love (triangle) story in RANGOON is a template repeated numerously than “Bhaiyon aur Beheno” in the Indian PM’s speech.
I understand that there are scenes which are accidentally comical, like Kangana rescuing Shahid by jumping off a bridge and landing on a train, trying to pull off certain stunts that even Tom Cruise will fear to do in his next. They are like proverbs which are absurd or comical until caught.
Saif Ali Khan is perfectly in the position where he is ordered to stand. But, as an actor who is supposed to be a “HERO”, in Bollywood terminology, is surviving only on roles where he is playing the arm to the candies that seem to have taken over the driver’s seat. This well built and dressed Nawab should work out on better ways to utilize the whatsoever talent he has.
“To cross the greatest of laps, you need the lightest of feet”, says the philosopher inside me. Thus, the show you saw was the feet and the lap was what you may miss.
What Shahid is to Vishal is much above than what Yash Chopra or Karan Johar was/is to Shah Rukh Khan. He is bringing up the actor and providing him with larger than life platforms where he is not just supposed to dance.
In RANGOON, he almost had my standing applaud.
Backed by a brilliant album and background score, with wife Rekha, Sunidhi and Arijit Singh marching the way ahead, RANGOON also has its lead actors, Kangana and Shahid, scoring their career’s best. While Saif Ali Khan is in again in role playing only a well-built arm to no candies, the supporting cast is a terribly weak link.
Kangana Ranaut has neither looked nor acted this beautiful ever before on and off camera. She is the medium through which Vishal says the story, and rarely has a lady actor donned the leading cap without boasting about it, in Indian cinema. This makes the watch worth my entire penny.
Shahid gave us goose bumps when he sang the INA’s version of the now National Anthem.I read and rightly believed Kangana’s statement where she said that no one has explored her beauty as much as Vishal has. It is undoubtedly Kangana’s extension of her golden run. Audience’s applauds pay her back on spot.
There is this spark missing in the love story in the backdrop of a war. So missed is the dreadful tragedy. It definitely deserves a watch, and if disappointed, a second watch to understand it again.