As a lifelong cinephile who has seen my fair share of Bollywood classics and indie gems alike, I must say that “Superboys of Malegaon” is an absolute triumph. This film resonated deeply with me because it beautifully captures the spirit of creativity, passion, and the pursuit of self-expression that lies at the heart of cinema.
Exploring a band of grassroots filmmakers in a small Indian town, Reema Kagti’s “Superboys of Malegaon” is an emotionally resonant, widely appealing tale that consistently underscores its relevance through its core message. Though the movie, inspired by true events, occasionally attempts to tackle too many issues, it consistently returns to the thought that individuals must find themselves mirrored in art, not merely out of whimsy, but from a profound yearning rooted in necessity, to live with honor.
During the late 90s to early 2010s, the Bollywood biopic focuses on Nasir Sheikh (Adarsh Gourav), a man with unrequited love residing in the small town of Malegaon. Despite being just a few hundred miles from Mumbai, India’s bustling financial and cinematic hub, the distance might as well be a vast expanse of space. Nasir co-manages a struggling cinema with his older brother Nihal (Gyanendra Tripathi), choosing to screen timeless classics by Buster Keaton and Charlie Chaplin instead of current Bollywood films, which inevitably leads to losing customers. Deep down, Nasir yearns to be a filmmaker, a dream that materializes when he starts combining action scenes from various decades and nations to make comedic montages for the audience; however, these screenings are eventually halted due to piracy concerns.
Accompanied by friends and enthusiastic collaborators, Nasir embarks on a low-budget project that mimics the iconic Bollywood film “Sholay,” but with a unique Malegaon twist to capture its humor, culture, and spirit. The initial phase of the movie, which consumes the first half, propels Nasir’s local fame, yet also fosters his growing arrogance, straining relationships with some of his colleagues, such as the principled screenwriter Farogh (Vineet Singh). Through it all, Nasir’s most loyal friend Shafique (Shashank Arora), an aspiring actor and mill worker, remains steadfast by his side. As the story progresses, Shafique emerges as a central figure, taking precedence over Nasir and Farogh, despite the fact that he should have been a co-lead from the start.
The structural issues in this film arise because it attempts to depict numerous crucial moments from its subjects’ lives, despite the 2012 documentary “Supermen of Malegaon” by Faiza Ahmad Khan focusing solely on one particular parody of “Superman: The Movie” produced in the late 2000s following a reunion among friends. Unlike the original documentary, which hinted at local communal tensions (a factor that motivated the real Nasir’s creative pursuits), this biopic affirms its characters as mostly Muslim, offering a refreshing counter to the widespread cinematic propaganda that stereotypes Indian Muslims.
By providing a rich backstory for every decision in the superhero spoof script written by Varun Grover, he not only gives the documentary and parody film a profound (and poignant) context, but also transforms its story of resourceful creativity into an emotionally resonant exploration of the significance of cinematic symbols and the immortality they represent. The powerful ending serves as a fitting counterpoint to Victor Erice’s latest work, “Close Your Eyes,” making it no small accomplishment.
Despite swiftly repairing its fractured connections, the film’s heartwarming narrative draws you in right away, thanks to its talented ensemble of actors who, while recognized by Indian audiences (and in Gourav’s case, known to Western viewers through Netflix’s “The White Tiger”), are not household names. This maintains the movie’s authentic feel. The acting skillfully balances the dramatic flair of Bollywood with the realism of India’s “parallel” cinema, keeping the characters’ personal struggles consistently intense yet relatable and human. A significant portion of the humor derives from references to “Sholay,” but even those unacquainted with the Hindi blockbuster can appreciate the characters’ lofty artistic aspirations, despite their modest origins.
There’s also a subtle nod to the centrality of “Sholay” in this context. The film “Superboys of Malegaon” was created by directors Zoya Akhtar, who is known for “The Archies”, and Farhan Akhtar, who is famous for “Dil Chahta Hai”. Both are sons of Javed, a co-screenwriter of “Sholay” and the lyricist for the background songs in Kagti’s movie. The Akhtars, being an established industry family, seem to be paying a respectful homage with “Superboys” to a group of outsiders who initially used Javed’s work as a catalyst for their creative endeavors.
The film is an emotional tribute to cinema that effectively overcomes its uneven structure and hurried resolutions, largely due to Kagti’s poignant scenes. These moments grow incredibly impactful by the end of the movie. Moreover, when viewed with an engaged audience, such as the enthusiastic, predominantly Indian crowd at the film’s Toronto premiere, a secondary layer of meta-commentary emerges. The film’s townspeople are shown reacting exuberantly on screen, becoming deeply engrossed in a cinematic experience tailored to their tastes. Over time, these boisterous reactions merge with those of the theater audience, creating a unique form of emotional connection through shared community. Few films have managed to capture as effectively why people continue to go to the movies.
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2024-09-15 11:46