What makes us human? A sum total of various behavior patterns picked up over the years or the capacity to hold strong unshakable beliefs. To have a Belief in a truth beyond oneself, not just on God, but justice, equality and fairness. Belief that these are not just arbitrary concepts created by those at helms of our race, but are the ultimate foundation of a stable society. Though SHOOL(1999) is viewed mostly from the lens of honest cop vs. system stereotype, the makers of this film- E Niwas (Debutant Director), RGV and Anurag kashyap(Dialogues) were all aiming for a deeper and more internal conflict.
On the surface, it is made of the some basic overseen elements- an egomaniac politician (Bachchu Yadav), his coterie of strongmen with obsessive Gunda syndrome, town residents who are numb, dumb and mute, ‘pragmatic’ policemen who want to live good and an honest cop ( Samar Pratap) who is oblivious to the existing power structure that everyone has grown used to. Am i talking about singham? Not actually, but one thinks that the same script specs were given to Rohit Shetty and the results are for you to see.
A carefully shot opening sequence establishes the reptilian and lusty nature of Bachchu Yadav who has been the local MLA for last 15 years. A two face, he struts around like a pampered prince throwing childlike tantrums and then quickly turns around as scheming, calculative and unforgiving. Enter Samar pratap Singh who has two basic problems- his anger management skills and unshakeable honesty. Samar is not driven by revenge or ambition to become a hero. He is a simple man who lives for his family, is out there to do his job but does it with a sense of purpose and by the book that means- criminals need to be punished and it doesn’t matter who they are.
It’s only a matter of time before this gets him in direct confrontation with Bachchu Yadav’s gang. But Yadav does not take him head on; like a matador he waits for Samar to run into him and starts chipping away the very core of: Samar’s fort of belief at the infallibility of the system and its protection at all cost. People around ask him to not to come in Yadav’s way- his colleagues on the pretext of practicality and survival, his senior orders him, Yadav’s men threaten him but he remains headstrong even at the cost of being called thickhead by his own father. There are some intense action sequences, intense because you can feel the anger and violence yourself and it is not entertaining rather disturbing.
Putting everything on the line, one by one he is ridden of everything he thought was life- his job, family and his well-wishers, and with this his ability to smile. Driven to the wall he confesses to his wife Manjiri, played by Raveen Tandan, that he understands that his ‘way of living’ has brought upon them such painful times. That he knows what other people talk of him and in a placatory tone, tells her that they will start anew, fresh.
But the trials do not end for Samar and in one final blow his world is shattered, maybe that’s what the filmmakers wanted to explore- strip a man of everything, bleed him dry, make him entirely hollow, falsify every truth he held on to in his life and see what happens. This is beyond courage, determination, perseverance or any such virtues associated with heroism. with death of your ego itself one either becomes spiritual, suicidal or both. In a symbolic final chapter, the suspended Samar gets ready in his police uniform and walks to the parliament for the final predicament.
The closing sequence is predictable and belongs to the world of ‘Krantiveer’ but that is where the dialogues make all the difference. Anurag kashyap has been carefully un-jingoistic, but honest, simple and stark. There are no tall claims of nation building or cleansing the system. It offers no solution as well. This is a landmark film, for the beauty lies in the honesty of its purpose. It’s commendable that even with such clichéd and overused elements, the filmmakers sought out to explore deeper, an intensely personal conflict.
People had started talking about the prodigiously talented Manoj Bajpai who recognised him as Bhiku Mhatre of Satya. Little did they know that he will go on to become one of immortals of Indian Cinema post Gangs of wassepur, but that he was as accomplished an actor as anybody in his age bracket was undeniable. From his restrained portrayal of Samar pratap singh, you can easily see why he is up there in the league of naseeruddin Shah, Om puri, and the likes. Keep looking at him and you will feel frustration and anger creeping into your bones.
Score time-
E- 8/10
M- 8/10
I- 8/10
Final Score- 8/10(the highest so far)
Good one pinku :)
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