With three fine acts by Irrfan Khan, Jimmy Shergil and Vishesh Bansal (the kid), MADAARI is once again a Nishikant Kamat film that falls short of delivering the desired impact despite having an interesting subject and the valuable support of a talented team. Made on a similar pattern reminding you of Nishikant’s own DOMBIVLI FAST (2005-Marathi), Neeraj Pandey’s A WEDNESDAY (2008) and also Irrfan Khan enacted DEADLINE SIRF 24 GHANTE (2006 – with a similar role involving a kid too), MADAARI can easily be called an unofficial inspired sequel of these films lacking a lot in perfection, logic and conviction missing the bull’s eye.
However what still leaves a strong mark in this half-heartedly made social thriller are the well written dialogues and a supremely engaging or rather revealing climax keeping you glued to the screen (ending on an abrupt note). As a result, here we have a film that could have been a strong surprise winner like A WEDNESDAY, but sadly fails to be the same as the director doesn’t play the game too seriously following a pretty ordinary, casual story progression full of big loopholes as indicated in the following short notes.
- The film opens with a great impressive quote referring to a small bird fighting with an eagle. The kidnapping of the Home Minister’s son is straight away announced through media coverage and Jimmy yet again plays the police officer leading the investigating team.
- The director follows the 'to and fro' kind of execution inserting the flashbacks at regular intervals and the one liners intelligently incorporated in the dialogues provide the entertainment.
- The first sequence between Irrfan and the kid with reference of child abuse works well.
- Jimmy looking above his glasses bending the neck looks realistic but Irrfan’s long hair and beard doesn’t.
- Dialogues continue making an impact commenting upon the questionable media and corrupt political system together.
- The pace is superfine with both Irrfan and Jimmy excelling in their given roles, but only if one decides to ignore the big loopholes relating to the kidnap, the hideout and their constant travel.
- After 40 minutes, the film tends to become monotonous but just then a flashback accompanied by an impressive background score touches you emotionally, followed by a well-written and skillfully rendered song, which again goes into high notes after the first two lines following the current trend. (Can’t figure out Why shouting can be found in almost every song today, even in the so called sad ones?)
----- INTERVAL -----
- Post interval the narration begins on a tense note becoming more political and the director brings in FACEBOOK and personal video uploads into the proceedings, hinting towards a Kangaroo Court.
- Rajasthan and its famous attires are used, probably to make it visually appealing.
- One particular dialogue on FB reveals the actual scenario perfectly, wherein Irrfan says, “Duniya Kal Meri Taraf Thi, Aaj Uski Taraf Hai” (not in these exact words)
- Another song and lot of creative liberties taken kill the pace again but the revelation of a cruel tragedy makes you feel the pain in a realistic, heart wrenching manner. However, much less movement of the handheld camera in the scene certainly would have resulted in a deeper impact.
- A typical sound in the background score reminds you of ‘the Dumroo’ (the musical instrument) played by a Madaari in his street shows and this is where the writer-director play a good trick with the viewer heading towards an engrossing 15 minutes finale.
- Though the entire climax is based on highly unbelievable assumptions and illogical proceeding full of many cartoonish characters far away from reality. Still it successfully manages to hold you well and the revealing dialogues remain the major working force behind it all.
- However just when you expect the film to end on an another insightful note, a sudden abrupt conclusion spoils the entire build-up, bringing back the casual, confused vision of the director - who once upon a time gave us a worth watching gem as MUMBAI MERI JAAN (2008).
Summing it all, MADAARI solely survives due to Irrfan Khan, the impressive dialogues and an engaging finale alone keeping the interest alive. Otherwise its a very casually made film full of many cardboard characters and illogical proceedings that remains the first thing to be avoided while making a though provoking social-revolutionary thriller, following a classic like A WEDNESDAY.
Rating : 2.5 + 0.5 / 5 (With the additional 0.5 for its socially relevant and revealing dialogues)
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