Kaagaz cast: Pankaj Tripathi, Monal Gajjar, Satish Kaushik, Mita Vashishth, Brijendra Kala, Amar Udhayay, Neha Chauhan
Kaagaz director: Satish Kaushik
Kaagaz rating: Three and a half stars
STORY: To keep his band-baja business above water, Bharat Lal (Pankaj Tripathi) approaches a nearby bank in Uttar Pradesh for an advance. Before long, he understands that his uncle and his children have announced him legitimately dead and grabbed a lot of the real estate parcel that the family had together claimed.
REVIEW: At the point when they joke about nasbandi (vasectomy) and the Emergency losing steam, it occurs to you that the setting is late 70s. Furthermore, during that noteworthy period throughout the entire existence of India, there carried on a man – in a little village in the northern piece of the nation – who was peeled off his family legacy by false methods. What’s more, the most noticeably terrible part of this shocking event is that it was his own kinfolk who had pronounced him legitimately dead over the minuscule portion of a land he co-acquired with them. “Aaj se tu humara rishtedaar nahin, murmur tere kuch nahin,” cautions the auntie, subsequent to unveiling the intricate trick they had exposed him to. Bharat Lal could be sprightly, yet he isn’t adolescent. The generally clueless man at that point vouches to battle the irritated family, and the ‘tarik-pe-tarik’ culture that the Indian managerial framework had become acclimated to. One letter, one criminal, each police staff in turn.
In our current reality where individuals are wrestling with bigotry, all things considered, – from strict opportunity to the right to speak freely, which cuts at the foundation of popular government – the strong and shameless ‘Kaagaz’ appears to have dropped on Zee5 (and restricted single-screen theaters in and around North India) at the correct second. This story, which is approximately founded on the life of a man who had met a comparable destiny once upon a time, is one that makes certain to summon a feeling of certainty and confidence among its intended interest group.
In any case, the speed of the account and its one-dimensional narrating strategy makes it a dull watch (even at 60 minutes, 47 minutes!). What’s more, the way that two storytellers were utilized (Salman Khan and Satish Kaushik) to push the diegesis forward, doesn’t help by the same token. For one, the melodies and the overall treatment appeases the earnestness of the plot and the crowd doesn’t get a sneak-look into the mind of a man who’s the fool of his companions, a notorious failure, who has really lost it all. A rousing story of this greatness would have thrived under the class of show; binding memoir with parody sure went done for.
Having said that, everything isn’t dark about this aggressive film project, and featuring the rundown of things that are admirable is Pankaj Tripathi. As a performer, he is guileless yet jocund, and obviously, a careful characteristic at that. Similar to the case with the remainder of his collection, Tripathi coasts through his change from an innocuous family man to a heartless revolutionary who wouldn’t persevere relentlessly and both the outrageous aspects of his persona attract you like a magnet. Such is his grasp over the personality of Bharat, and that subtle marvel called acting. Satish Kaushik wears two caps for this one – one of an entertainer and the other, of the chief. While he is his standard entertaining self as an ethically lose attorney, it is his bearing that frustrates: excessively disproportionate and bland, particularly when its coming from a movie producer of his height. The equal characters are weak contrasted with the heavenly lead that is Pankaj Tripathi and this glaring difference is one of the numerous reasons ‘Kaagaz’ explodes in smoke.
The embodiment of the Indian heartland and the time that is far past has been suitably caught by outfit creator Sujata Rajain, and Arkodeb Mukherjee’s cinematography is rural and pertinent.
To summarize it, ‘Kaagaz’ might have been the head out to film for those looking for an eruption of motivation, however it winds up being a uni-dimensional masterclass on one man’s acting ability. Not that we are whining, but rather the film could pull at the heart strings. Tsk-tsk! It was not to be.
