Madaari is a powerful film because of the message it conveys – an element that effectively counters flaws that we may discuss in the art of filmmaking here.
And it does so sensitively, touching cords. The film is not just a sensitive portrayal of a father-son relation but is also an apt expression of a common man who is crushed by the system. It is a vengeance story with no personal vendetta. It is as variegated in portrayal as the human thought can be, especially of a man who has lost his everything including the will to live and who wants to avenge his loss at any cost but who, at the same time, is bound by the larger cause of ‘what is right and what ails’ the system.
A vigilante thought process underpins the character developments in the movie – a thought element that we all have in our lifetimes. It is its leitmotif.
The main protagonist in the film loses his son in a flyover collapse which is caused by irregularities and corruption in its construction. The film explains well the internal struggle of a man who fails to accept this loss and chooses to concentrate his anger on the corrupt system that is plaguing the society – that caused the collapse.
A vigilante film is basically about uncommon heroics of someone from among us. The good thing about Madaari is, that though it’s basic premise is far-fetched, it tries to look real – like the reflection of peace and innocent happiness that the main protagonist’s character displays when he finally succeeds in telling to the masses that he has kidnapped the home minister’s son and why he has done so – something that the whole machinery is trying to keep under wraps.
And the film does it with élan. Character development is a high point of this film – every character that is a stakeholder here contributes with heart – the main protagonist, his son, his wife, the captive who also happens to be the son of the home minister, the home minister and his wife, the cop, the corrupt politician and so on.
A home minister who leaves his son in a minimum security school hostel to seek political mileage, a dejected father who abducts that son and roams across many states throughout the movie, a cop who decides not to kill him after knowing his real story and indirectly helps him, a cop who aspires to get the plum posting of some state governor after retirement – unbelievable, unreasonable premises – but then isn’t it not about the most vigilante movies – and, in fact, with all the superhero movies?
Yet we love them – be it ‘The Equalizer’ or the Batman movies of the Superman movies or the Iron Man movies or our very own ‘Krrish’.
It is because of the human psychology – where we all, more or less, at some point of time or regularly – face its brunt – and the main protagonist of the movie is shown taking on such (rogue) VIP elements.
It is because such films give wings to our fantasy that craves (and at times cribs) because of the fundamentally feeble nature of human beings who have been harassed by a corrupt system – something that we all face – and find ourselves forced to compromise.
Madaari portrays that.
Featured Image Courtesy: Madaari’s Official Facebook page