The tagline reads “The Biggest Indian Film Ever Made” as South whizkid Shankar directs one of the most entertaining, masala blockbusters of our times which holds the test of time magnificently even today. At the time of it’s release the movie was made into Tamil as INDIAN, and dubbed into Telugu as BHARATYUEEDU and into Hindi as HINDUSTANI and all over Indian the movie became a Blockbuster. A larger than life contemporary theme merged with a Superstar in fine form and topped with technical finesse and a smashing soundtrack HINDUSTANI was ample proof that Shankar is no doubt a director who has his fingers on the audiences pulse and knows how to deliver a “BIG” movie in every sense and leave the viewer totally satisfied.
The movie revolves around Senapathy(Kamal Hassan), a veteran freedom fighter who is angry at the India we have today which is rotting at the mercy of corruption which is seeped into every government department from the lower ranks right to the top ranks. His son Chandra Bose(Kamal Hassan again) belongs to the “new” India and he believes that corruption is a way of life in todays time and it’s quiet “normal” to give “rishwot” in order to get things done. A clash of ideals forces the son the son to leave the house. Tragedy strikes the family when Senapathys daughter Kasthoori(Kasturi) is burnt badly in a accident. They get her to the nearest hospital - but the doctor wants them to file a police report or pay him Rs.500/-; At the police station - the Inspector wants Rs.250/- or a report from the Village Administration Officer; who in turn wants Rs.150/- so that he can start preparations for the report. This delay results in Kasthoori's death - and a vengeful Senapathy decides to teach corrupt officials a lesson - a lesson that will serve to remind other corrupt officials to do their work diligently without accepting any bribes. Senapathy feels that India today is still not free-in earler years we were slaves to the British and now we are slave to our own people and in a attempt to rid society of corruption as well as instill the fear of death and punishment, the old Senapathy once agtain becomes a soldier of the country with his old-fashioned dagger and martial arts technique. However fate has something else in store as a bus accident causes the death of a large number of kids. The transport officer who had given the license to the bus is none other than Chandra Bose and Senapathy decides it is now time for him to cut the process of corruption from it’s roots, which includes his own son.
Shankars attempts a larger than life theme with this story-one of corruption and one that has been witnessed time and time again in Hindi films. Usually we have corrupt police officers and politicians with a honest protagonist out to seek revenge and punish them, however where Shankar differs is presenting the theme in a refreshing manner. The protagonist here is a 60 yearold war veteran who becomes a crime fighting machine which in itself is a novel concept. The father-son clash has been witnessed in films many a times with films like SHAKTI to AAKHREE RAASTA, and Shankar brings out the clash superbly. The two flashback sequences(the 1940’s and also the death of Kasthoori) in the movie are an absolute masterstroke and superbly develop the story further and further.
The screenplay of the movie is good, the movie starts out slow with the “younger” Kamal Hassans sequences as well as the scenes with Crazy Mohan, Manisha and Urmila, however once the flashback of the “older” Kamal Hassan in the 40’s is revealed the film is a non-stop, rip-roaring entertainer which doesn’t let go until the exciting final reels.
As a director Shankar attempts to do many things here, and he succeeds on all levels. On one level his aim is to make a film with a social message, yet he does so in the most entertaining manner. Presenting the theme of corruption with style and finesse the directors views and ideals reflect that of Senapathy and the messages comes out to the viewer loud and clear. The second level the movie works on is one of the most inspiring, emmaculate and enjoyable performances of out times from Padmashri Kamal Hassan in fine form. There is no doubt Kamal Hassan is one of the finest actors in our country-and Shankar is only too well aware of Hassans talents and gives him a role and character(s) that allow him to deliver a performance that fully projects his talent to it’s fullest in a masala format. The “politics” of a one man judge/jury/executioner is one that one may not necessarily agree with, however Shankar works his film on a relatively “WHAT IF” fantasy level which also heightens the masala impact of the movie to a great extent . The idea of a 60+ yearold fighting machine who can kick some serious ass is one that one face level is NOT plausible however in the context of the movie merged with Kamal Hassans conviction it….WORKS. The plausibility factor is low on one side with the whole “fantasy” element, but given the serious theme of the movie it strikes a perfect balance between fantasy and reality which is the movies biggest strength, at times the movie has the whole “this is so crazy its GREAT” effect.. This is a style that Shankar has used again in future films too with a similar central theme merged with a “out there” setting and characters. ANNIYAN (2005) is a prime example where a meek and honest Brahmin becomes a crime fighting avenger with a 3 way split personality to get rid of crime and corruption, and also NAYAK( 2001) where a “everyday” reporter is given a chance to be C.M for the day. Also the movie uses a similar technique used in Rakyesh Mehras modern day classic RANG DE BASANTI(2006) where by the director uses past examples of the British-raj era to justify the actions of our protagonist in todays times by drawing a parallel between the crimes and it’s actions. Shankar….given that you’ve signed one of Indias BIGGEST SUPERSTARS Rajnikanth for your next film SIVAJI where it is rumoured that Rajnikanth has a double role and the theme is again corruption in the education system(a combination of Shankars own HINDUSTANI, ANNIYAN and GENTLEMAN) one can only wish you all the best as this could quiet frankly be the “biggest” movie of our times.
Kamal Hassan is outstanding to say the least. Slipping into the role of both the war veteran, crime fighting father and the corrupt and modern son, Hassan is simply outstading in both roles. Yes, the makeup does look slightly OTT now, however this does NOT take away anything from Hassans performance. As the aged patriotic Senapathy Hassan gets right into the skin of his principled character with his delivery, voice modulation, facial expressions and body language and delivers an outstanding account of himself. Criticism has always been there for Kamal Hassan that he relies on gimmicks to heighten the impact of his performance, but again after NAYAKAN, I have found this to be a performance where his get-up compliments his performances rather than acting as a filler. As the younger Chandra Bose he excels too playing the corrupt traffic officer to perfection. The scenes where the two Hassans are on-screen together one finds it hard to believes that it is infact the same man playing both characters as Kamal plays both parts with equal conviction. What can one say except HATS OFF to Mr.Hassan.
Urmila Mantondkar and Manisha Koirala don’t have much to do in the movie except act as glam dolls and look good in front of the camera while providing the “oomph” factor and masala in the movie. Urmila as the rich and snotty rich girl infact has quiet a poorly etched our character however she plays what little she has to do with grace. She looks sexy as ever, and gets her “latkas” and “jhatkas” right. Manisha Koirala too is just OK, she has a better etched out character as the “actual” love interest, however it is Koirala who actually bores with a rather uninspired performance looking tired and jaded, however like Urmila, Manisha too does well in the song sequences.
Sukanya as Senapathy is brilliant as far as acting goes be it the young lady in the 40’s or Senapathys elderly wife, however better make was the need of the hour as now one can easily spot how fake the makeup looks. In saying that, she does gine a superb account of herself as far as the acting goes, and compliments the “old” Kamal Hassan remarkably well.
From the supporting cast Nedumuni Venu does a good job as the police officer hot on Senapathys trail. Aruna Irani too excels in the few scenes she has and leaves a lasting impression in the scene where she breaksdown. Goudmani and Senthil over-do their comedy act, and infact the comedy track that evades the first half actually acts as a hindrance in the movie as it fails to make the viewer laugh. One wishes that the movie had a better comedy track, or even better, if the comedy track had been better merged with the story. It feels like the comedy track at the start is just there as a time-filler more than anything else.
Technically the movie is simply wicked for it’s time. Undoubtedly one of the slickest and most lavish films(if not THE most lavish film) of that time, the movie has such a large canvas and Shankar manages to present merge the canvas of the movie with his story, theme and cast superbly. Vikram Dharmas action sequences deserve a special mention. YES-at times when the old Senapathy is beating up corrupt officials and doing his old-fashioned martial it comes across as cheesy, however that’s the appeal of the action here as what would normally make the viewer cringe with any other actor, Kamal Hassan pulls off with adamant conviction and makes it all the more fun to watch. The special Effects by S.P Venky are wicked from the stunts at the race scene to the car chase in the finale. Michael.R.Jones’s make-up hasn’t stood the test of time that well.
A special mention must be made of the flashback sequence from the 40’s which has been resurrected and directed with painstaking precision by Shankar and authenticity oozes from the screen. Merging “real” life footage of Subhash Chandra Bose with “reel life” footage of the Senapathy joining the Indian army as well as the whole “black and white” tone makes it one of the masterstrokes in the movie.
A.R Rehmans music is funky and foot-tapping which is precisely what its meant to be. The songs were a Nation wide RAGE and CRAZE when they releases with TELEPHONE and LATKA becoming Anthems of sorts. The picturisations are stunning and enhance the watchability factor of the songs quiet a bit.
All up HINDUSTANI may not quiet be the BIGGEST INDIAN FILM EVER MADE, but it sure as hell is one of the most zany, whacky, and entertaining masala films I have seen which holds the test of time rather well, and Kamal Hassans performance is yet again one that the lingers with the viewer after the show is over…
Overall Rating=8.0/10.0
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