Watch it only if you’re willing to sit through two hours of boredom in exchange for a terrific Irrfan performance. ‘Madaari’, then, is a wasted exercise-in filmmaking, and even more in film viewing.
His character goes nowhere, and its relevance to the plot is only incidental. Shergill is effective in a role that does him no justice. If not for Irrfan, ‘Madaari’ would have been even more forgettable. Unfortunately, though, he also deserved a better film. His face dominates the poster, as it should, and this is the kind of author-backed role an actor of his caliber deserves on a more regular basis. Irrfan, of course, is excellent, shouldering the entire narrative almost single-handedly. Almost everyone except Irrfan and Shergill overacts. It’s like there is a constant struggle to keep mainstream elements intact even when they interfere with storytelling, instead of letting them blend in organically.
This too comes back to Kamat’s style of filmmaking even some honest, heartfelt moments-like when Irrfan breaks down after a shocking experience-either overstay their welcome, or are undone by the haphazard use of music. There is a sense of hurriedness in the making, something cinematographer Avinash Arun finds hard to counter with his work behind the camera. Kamat makes ‘Madaari’ look like a tacky, low-budget television drama, and not the A-grade film it’s meant to be, with poor supporting actors, sub-standard sets and embarrassingly out-of-context stock footage. This track quickly turns into a farce, though, with heads of RAW and the Indian Army chasing Nachiket around as he gives orders, nodding their heads like only poor junior artistes can. Some initial moments are interesting, like when the CBI Joint Director Nachiket Verma (Jimmy Shergill) takes over the investigation and has to deal with squabbles between the country’s top investigate agencies. Story writer Shailja Kejriwal and screenwriter Ritesh Shah’s characters talk like they belong to 1990s Hindi cinema, while plot twists seem dated for even that era. It’s all cringeworthy, none more than when the kid charges at his abductor, screaming out, “You bloody kidnapper”. In ‘Madaari’ too, the kid is annoyingly made to sound wise beyond his years, even talking to his kidnapper about Stockholm Syndrome at one point. The moment a child is thrown into a Hindi film narrative, it creates opportunities to make him or her sound unnecessarily grown-up for some reason. A layman kidnapping the son of the Home Minister is essential to the story, and so several contrivances are put to work-the eight-year-old kid escapes hostel after midnight to grab a snack, for instance, just to create a scenario for the kidnapper to get him. The filmmaker seems to be in auto mode in these films, all of which have been replete with hammy acting, wavering screenplay and, more importantly, confused treatment. His ‘Dombivli Fast’ and ‘Mumbai Meri Jaan’ were credible films-and ‘Force’ brought bare-knuckled action back in fashion, in a way-but ‘Drishyam’, ‘Rocky Handsome’ and ‘Madaari’ have all suffered from aimless direction. Kamat, who’s been churning out movies with as much regularity as Ram Gopal Varma in his heyday, seems unable to grapple with a more “mainstream” language. With Irrfan in the lead, and Kamat directing, ‘Madaari’ had the scope to turn into a riveting emotional drama.īut that’s far from the case. Director Nishant Kamat’s third film in a year’s span is similar to Pandey’s film at a basic premise level-a common man, wronged by the system, kidnaps the son of the Home Minister.
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