Producer: Mushir-Riaz
Director: Priyadarshan
*ing: Anil Kapoor, Amrish Puri, Tabu, Pooja Batra, Milind Gunaji
Music : Anu Malik
Reviewed by: Ali Ikram
ali@indolink.com
Rating : 
(out of 
)
Mushir-Riaz's 'Virasat' is superlative, intelligent entertainment. I cannot find any other words to describe the newest film of Anil Kapoor. If some of his fans were disgruntled at the tiny role he had in this year's earlier hit 'Judaai', look no further, this film is for you. If 'Judaai' was pure fun and boggle meant for the masses, 'Virasat' makes you actually think in your seat and be entertained simultaneously.
Priyadarshan, who was responsible for the superlative 'Gardish' and overpraised 'Kaala Paani', directs this Hindi remake of Kamal Hassan's Tamil 'Thevar Magan'. (Don't ask for any comparisons because I have not seen the original.) It is important that Indian film-makers are beginning to remake films of other languages rather than dubbing the originals. (I don't know why some people complain that even authorized remakes of films are a form of plagiarism. Watching some of the dubbed scenes in 'Sapnay' is about as painful as shooting a bullet into your foot.)
Having said that 'Virasat' is a remake, let me first of all commend Mr. Kamal Hassan for writing the story. This genius of a man is not only a superlative actor, but a great writer also. Similarly, the dialogue is crisp and filled with wonderful, yet simple similes. And of course the scenes are pure brilliance. Individuals who argue that Indian films are not intelligent ought to try and pick up on the very wittily underscored symbolism in the scenes of this film.
The story of the film is set in a village broken up by the brothers of the head Thakur Khandaan. The elder, Raja Thakur (Amrish Puri) is an uneducated but benevolent man who has sent one of his two sons (Anil Kapoor) to study in London so that he may come back and educate the constantly feuding villagers. The film starts with Shakti (Anil) returning home, but not with the intention of staying long. He does not want to fulfill his father's dream, but instead dreams of opening a chain of fast food restaurants throughout India's metropolises. Along to keep our foreign-returned hero company is his NRI girlfriend Anita (Pooja Batra). Oh well, Raja Saab does not force his desires upon his son and even agrees to let him live life as he wishes; quite a liberal attitude for the highly stereotyped father figure we're accustomed to in Hindi films. Anita returns to London after her short village tour and visit with her soon to be father-in-law. Shakti promises to join her in a few days.
Unfortunately, Raja saab's younger brother keeps the village so engrossed in feuding that Shakti inevitably becomes concerned with the plight of the villagers and stays behind. Shakti's intial repulsion with the "animal-like" behaviour of the villagers is replaced with the desire to help the down-trodden and uneducated. However, what happens next? Is Shakti sucked into the war himself and does he become a cannibal also? Or is he able to rise above the complications in his life and teach the village to stop their fighting? I don't want to give out the rest of the numerous plot developments, but believe me when I say that they are very enjoyable. Not once will the intelligent viewer look at his/her watch waiting for a scene to end.
All the performances in the film are majestic. Anil Kapoor adds another notch on his belt of unforgettable performances. Here is an actor who intelligently underplays his characters so that they are hardly ever unnecessarily loud or exhibitionistic; Shakti is very life-like. Tabu (don't ask where she fits into the film because it is a very interesting role), recovering from 1996's National Award for 'Maachis', proves why she is considered such an amazing actress. Give this girl even a small role, and you'll still remember her after the film.
Amrish Puri is amazing in his role as usual. No offence to fans of Anil, Shahrukh, Aamir, etc., but frankly Amrish steals the thunder away from any other actor when he is in the same scenes with them. Pooja Batra does a very commendable job in her first film, but you may be interested to note that she seems to be a better actress post-interval because it is Padmini Kolhapure doing the dubbing for her. (Did I mention that the scenes between Anil-Tabu-Pooja are amazing. Very interesting interplay between the characters and the complete opposite of 'Judaai' folks.)
Priyadarshan, as mentioned earlier, handles the film very ably. If there was one small complaint I had about the film, it was the unnecessary portrayal of the evil half of the Thakur Khandaan with caricatures that are either fat, dark, mentally retarded twins or a partially paralyzed man. Hinting that obesity, physical ailment or mental retardation lead to evilness is both mean and a fallacy.
The remaining technical aspects of the film are just as great. The cinematography is simply perfect. Actually, the film made me want to get up and go visit an Indian "gaon", but we all know that what we see in films is not always the same in real life. And the songs and dances are also great, though not integral to the film. (Yes, yes, I know they are inspired from other sources.)
I am very happy to say that the large mass of filmgoers in India were intelligent enough to make Kamal Hassan's Tamil original 'Thevar Magan' a superhit. 'Virasat' is a movie for those of you who crave intelligent, mature, Indian cinema, with a tiny bit of spice (i.e. cinematic liberties) thrown in. However, if you don't go to see this film, and it flops, please don't complain next time you are subjected to more inanities like 'Koyla' and 'Mrityudaata' in the future. I am not lying when I say that 'Virasat' is to-date, the best film of 1997.
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