No bullseye, lekin yeh filam dekho – Beyond Bollywood

Women show quiet strength in an Anurag Kashyap crime drama. Monika Panwar, Vedika Pinto shine, as does debutant Aaishvary Thackeray.

Rating: ⭐️⭐️💫 ( 2. 5 / 5 )

By Mayur Lookhar

Anurag Kashyap’s journey as a filmmaker perhaps mirrors the relentless struggles of his characters, a constant fight for survival. Much like them, he has remained the eternal rebel. Now, having proudly declared his exit from Bollywood, Kashyap has turned South, where his villainous turns, most notably in Maharaja, earned him both adulation and fresh creative space.  

For all his frustration with Bollywood, Kashyap isn’t quite done with it yet. He has two films on the way, Nishaanchi and Bandar (Monkey in a Cage), which recently played at the Toronto International Film Festival. Nishaanchi takes first strike as it arrives in theatres this Friday.

Story

In 2006, in Kanpur, Babloo (Aaishvary Thackeray), his girlfriend Rinku (Vedika Pinto), and his hesitant twin brother Dabloo (also played by Thackeray) plot a bank heist. But the plan unravels when Babloo is caught, while Rinku and Dabloo barely manage to escape.

Like his late father, Babloo is no stranger to crime, and just like him, he now faces a fight for his life.

Screenplay & Direction

Though framed as a crime drama, Kashyap and his co-writers Ranjan Chandel and Prasoon Mishra root the story in the tumultuous journey of a family. The screenplay moves between the present-day struggles of Babloo and Dabloo and the past, particularly their parents’ story. Jabardast Singh (Vineet Kumar Singh), a promising grappler, fell in love with Manjari (Monika Panwar), a district-level nishaanchi (shooter). Their sporting dreams were cut short by fate, but in each other they found solace, and soon, the joy of raising twins.

The comical heist, followed by events from two years ago, pulls you in, but as the narrative shifts to the emotionally gripping backstory of Manjari, Jabardast Singh, and even the antagonist Ambika Prasad, the present-day struggles of Babloo, Dabloo, and Rinku start to feel like a distant memory.  

Be assured, the present-day drama doesn’t feel undermined, the 176-minute runtime gives it adequate weight. Yet, while largely engaging, thanks to its rooted, gripping writing, it does feel stretched, as the viewer remains eager to know what happens to Babloo and what lies ahead for the family. And just when the tension peaks, comes the realisation that this is only the beginning of the Nischaanchi story.  By the end, you can’t help but wonder, could all this have been better suited to a web series? And how long will we have to wait for the next part? That wait is frustrating.

Acting

Nishaanchi has a slight flavour of Gangs of Wasseypur, though without the gore. What holds it all together is the family. From Mother India to Ganga Jamuna, from Ram Lakhan to Nishaanchi, stories like these never lose their impact. Economic and social hardships push people to desperate measures, often crossing the line into crime. As always, it is the mother who bears witness to the apathy of both her husband and now her son.

From the moment she appears on screen, you shake your head in disbelief that Panwar, who is only a few years older than Thackeray, has been cast as his mother. Didn’t we mock Ekta Kapoor for such creative liberties in her soaps? But then, didn’t Richa Chadha play mother to Nawazuddin Siddiqui in Gangs of Wasseypur (2013)? Panwar, however, doesn’t let this affect her performance. Her beauty shines effortlessly, even without makeup, but more importantly, her face reflects the scars and rigors of Manjari’s life. She long gave up trap shooting, yet don’t mistake her silence for weakness. Panwar carries a quiet strength within, charming us with a compelling, understated performance.

The name Thackeray is enough to strike fear. In his debut film, Aaishvary takes on a double role, two sharply contrasting characters, fire and ice. The young actor pleasantly surprises, seamlessly immersing himself in the chaos of Anurag Kashyap’s noir. The director doesn’t burden him with much accent, yet Aaishvary Thackeray is likely to earn respect of the cow belt. Watching him in his two distinct Kanpuriya avatars, the insider-outsider debate in Maharashtra, feels a distant memory. Thackeray preserves cultural diversity, showcasing both Kanpuriya daring through Babloo and tehzeeb (etiquette) through Dabloo. Exposed to crime early on, Babloo had the privilege of watching Al Pacino’s Tony Montana in Scarface (1983), and since then, he has likened himself to Tony Montana rather Tony Mantena. Babloo, Manjari, Dabloo, they are like the B.M.W. that drives Nishaanchi.

Though a crime story at its core, it’s the women who build a strong emotional connection, and that is what helps separate it from Gangs of Wasseypur and Kashyap’s other noirs. Like Panwar, Pinto also has a gifted screen presence, but it is always complemented by her talent. We’ve heard how Kashyap described Pinto’s Rinku as the Madhuri Dixit of Kanpur. The young Kathak dancer’s world fell apart after her father was killed, and soon she was drawn to the lusty, dingy gullies of Kanpur as an erotic dancer. The costume partly evokes Madhuri’s Mohini but we felt the swag and the shades perhaps mirror more of Huma Qureshi in Gangs of Wasseypur.

Though wiry, Pinto is more in-your-face than Aaishwary. We’re still in a bind, though, how could Rinku be attracted to a man who was among those present when her father was killed? That the truth remained hidden for so long was surprising, and when it unfurled, it busted our notion that the woman was perhaps playing the twins to seek revenge. Like Panwar, Pinto too chips in with a compelling performance.

For a man who looks anything but evil, Kumud Mishra often stuns in his few negative portrayals. Ambika Prasad is perhaps the most cunning of them all, or, as they say in Hindi, “aasteen ka saanp”- and the most vicious. Here is a man who has mastered sycophancy, poisoning minds with the conviction of a saint, and in the process, one by one, he eliminates the biggest threats to his ambition of seizing control of the Desh Premi Akhara and regional politics.

Mishra’s virtuoso act is matched by Girish Sharma, who plays the younger Ambika. Despite his lust for power, whether it’s Mishra or Sharma, Ambika still strikes as a frightened puppy whenever he faces Manjari. He had his eyes on her even when she was married, but the trap shooter was always too smart to be trapped. During his first visit to Jabardast’s house, the younger Ambika asks which sport she won medals in, to which Manjari delivers a bittersweet reply: “I used to shoot asses of flying birds.” Hilarious and subtle, yet it sends a strong message to the lecher. Later, Ambika does make overtures toward the widow, a mistake that leaves him scalded.

The lasting image, however, is in 2006 when Manjari warns him to stay away from her family, even Rinku, or face the wrath of the mother. Here is a man who would normally look the devil in the eye, yet he cowers like a puppy when facing Manjari. Watching Girish Sharma is akin to watching him impersonate Mishra; there are moments where it feels as if Mishra himself is voicing Sharma. If that isn’t the case, it only speaks volumes about Sharma’s prowess as an artist.

Vineet Kumar Singh is largely measured in his portrayal of Jabardast Singh, though his angry outbursts feel forced and at times a little too harsh on the ears. Despite limited screen time, Mohammed Zeeshan Ayyub is brilliant as the corrupt, lust-driven cop Kamal.

Anurag Kashyap’s films often serve as a mirror to the hinterlands and their people. The rooted, raw characters in the supporting cast reflect this authenticity. Not every supporting role is explored fully, yet their rugged, rustic faces speak tales of their own.

Music / Technical Aspects

Like its narrative, the music of Nishaanchi too springs from its roots. Much like Gangs of Wasseypur, it blends folk authenticity with quirky, almost indescribable flavours and lyrics. If Womaniya, Yashpal Sharma, defined Wasseypur, then it’s Dear Country in Nishaanchi that takes the cake. Pronounced desi-style as Dearr Kantery and rendered in the inimitable voice of Vijay Lal Yadav, the song soars, amplified by a chorus of raw, earthy voices.

It’s no coincidence that Bhola pehalwan (Rajesh Kumar) named his akhara Desh Premi. The big burly man sits sprawled on his cot, soaking in the performance, lazily wagging his crooked finger à la Billy Bowden. But the one who truly loses himself in the music is Bhola’s son-in-law, a hulking pehalwan in his langot, head swinging in hypnotic circular motions as though possessed by the rhythm itself.

The tone is set early, with the brilliant Filam Dekho song playing over the opening credits, against a backdrop of vibrant murals.

While making his acting debut in Nishaanchi, Aaishvary Thackeray also leaves his mark on the soundtrack,  composing and penning the quirky Pigeon Kabootar and lending his voice to the soulful film version of Neend Bhi Teri.

The cinematography of Nishaanchi, by Sylvester Fonseca, breathes with the city – dust in the air, sunlight in alleys, and faces lit so that their struggles feel close and real.

Final word

Ever since Mukkabaaz, Anurag Kashyap seemed a bit off-colour, but with Nishaanchi he partly regains his mojo. Still, the 176-minute screenplay, with its constant cross-cutting between present and past, sometimes feels like it increases the distance between the nishaanchi and the target board. Nevertheless, one is likely to walk away with a strong recommendation: “Yeh film dekho.”

Watch the video review below.