Subedaar: Anil Kapoor and Radhika Madan lift this old school masala

The story of Subedaar is a classic one-man army plot. But director and writer Suresh Triveni manages to bring some newness within this. The fractured father and daughter relationship with a feisty Radhika Madan is the best thing about Subedaar

Starcast: Anil Kapoor, Radhika Madan, Aditya Rawal, Faisal Malik, Saurabh Shukla, Mona Singh, Khusboo etc

Genre: Action/drama

Writer and director: Suresh Triveni

Additional writer: Prajwal Chandrasekhar

Producers: Anil Kapoor, Suresh Triveni and Vikram Malhotra

Cinematography: Ajay Saxena

Music: Rohan Vinayak, Raj Mawar etc

Production Companies: Abundatia Entertainment and Anil Kapoor productions

Streaming site: Amazon Prime

Running time: 2 hours plus

Suresh Triveni’s latest feature plays out like a cross between the masala cinema of 70’s and 80’s with a dash of western influence. At the center of Subedaar is Anil Kapoor’s Arjun Maurya. A retired major struggling to deal with civilian life. Radhika Madan is the angsty daughter Shyama. Arjun and Shyama have a fractured relationship and in terms of temperament they share more than one similarity. Arjun’s life turns upside down when his world collides with Aditya Rawal’s prince. Prince is a mafia hair to Mona Singh’s Babli Didi. Panchyat fame Faisal Malik is the calculating operator often frustrated with Prince temperament. Finally, there is Saurabh Shukla too as Arjun’s confidante and longtime friend Prabhakar. The story in simple terms focuses on Arjun’s fight back as well as Shyama’s own battles.

A strong aspect of Subedaar is the gritty texture. The backdrop of sand mafia with the rugged atmospherics has an authentic feel. A major reason for that is Ajay Saxena’s cinematography along with the production design. There is a lived-in feel to the area of prince and Babli Didi. The extreme lawlessness though a cliched trope has come out well.

Mention must also be made of the portions depicting Arjun Maurya’s internal struggles. This includes a certain guilt on not being with his wife when she needed him as well as identity crisis. There is a crucial scene where Arjun talks about the cost of being patriotic. The gradually simmering anger has been built up well. When the pent-up anger eventually explodes the action feels justified rather than just a regular hero and villain thing. Anil Kapoor plays the part with a good mixture of emotional vulnerability and volatileness. It’s a treat to watch the actor doing hard core action proving that he can give any young actor a run for his money.

The characterization of Radhika Madan is also a big plus coupled with her act. Shyama carries a certain inner resentment towards her father and there is a confrontational nature to the way she handles things. Radhika does a very good job in pulling off a feisty woman especially in the action sequence where she saves herself from a bunch of guys.

Subedaar also scores on the account of strong villains. Aditya Rawal as Prince is deliberately hammy but the young actor more than holds his own opposite the veteran Anil Kapoor. Aditya brings in the required intimidation in spite of a one note character. Mona Singh as Babli Didi is more understated but thoroughly effective. Her interaction with Anil Kapoor over a video call is especially entertaining. The actress once again proves her versatility. Faisal Malik underplays beautifully for a large part; at the same time there is a certain switch too when he gives it back to Babli. Faisal Malik is absolutely solid.

Saurabh Shukla as Arjun Maurya’s longtime friend brings in the required warmth. His scenes with Anil Kapoor have a tender nature. Khushboo Sundar as the dead wife could have done with more screen time rather than being just a memory. Yes, she plays her part with grace but a few more scenes of her and Anil would have enhanced the emotional quotient.

The core of Subedaar is nothing new and this does become a deterrent in the eventual scheme of things. From mid second half things start to stagnate. Also, the subplot connected to sand mafia with Arjun Maurya becoming a savior needed better writing.

Final word: Subedaar is worth watching for fans of gritty action dramas and Anil Kapoor admirers.

Mrityunjay: A focused crime thriller/drama

Some of the early portions could have done with a tighter edit. But the film gets into top gear when the cat and mouse game begins. It also helps that director and writer Hussain Sha Kiran creates a formidable antagonist who cannot be easily defeated. The absence of romance and songs also makes the film tight.

Starcast: Sree Vishnu, Veer Aaryan, Reba Monica, Baby Uha, Sudharshan and others

Genre: Thriller/drama

Writer and director: Hussain Sha Kiran

Producers: Sandeep Gunnam and Vinay Chilakapati

Cinematography: Vidya Sagar Chinta

Music: Kaala Bhairava

Running time: 2 hours

Production companies: Light Box Media and Picture-Perfect Entertainment

Sree Vishnu’s latest Mrityunjay bears a striking resemblance to Trivikram Srinivas’s Julayi. Much like that movie here too the hero and villain trying to outsmart each other plays a crucial role. For a film of this nature, it’s necessary that the viewers feel the tension on how the antagonist will be defeated. Hussain Sha Kiran aces this aspect with powerful mind games. Yes, the writing needed to be tighter in some places but there is no denying that Mrityunjay grips the viewers. After a series of lighthearted films Sree Vishnu showcases a refreshingly different facet of him this is something which I will get to later.

The early portions of Mrityunjay establishes the work of Sree Vishnu’s Jay. Jay’s job is securing obituary ads for a newspaper however his ambition is something else. But this is not happening due to some reasons. However, things take a dramatic turn when Jay notices something unusual on his routine of getting an obituary ad. How this leads to a clash with the mysterious killer (a formidable Veer Aaryan) forms the core of Mrityunjay.

A strong aspect of the movie are the characterizations of both Sree Vishnu and Veer Aaryan. Sree Vishnu in particular surprises the viewers with a solid act. He portrays the vulnerability and determination of Jay in an excellent manner. A good example of Jay being vulnerable is the scene where everything appears lost. A sense of frustration is palpable when Sree Vishnu says that he is fighting a villain who operates from the shadows and is not visible. There is also a good emotional thread connected to Baby Usha. Jay’s reason for getting into an investigative mode is majorly connected to this. Sree Vishu aces this part as well. Overall, it’s refreshing to see the actor explore a different side of him.

Veer Aaryan does not have many dialogues, but he brings in an understated villainy. He plays the role with the right amount of menace and a mysterious air. The actor especially shines in the climatic portion.

Reba Monica as the police officer also makes her presence felt. She pulls off the no nonsense nature well, also she looks stylish in a mini action sequence firing gun. Having said that her character could have been a more active participant. Among the rest Sudharshan as one of Jay’s friends plays his part with practiced ease.

Kaala Bhairava’s background score also adds to the thrills. The BGM is especially striking in the tense sequences like the portion involving a market yard. The cinematography of Vidya Sagar Chinta is first rate too. His finesse is very visible in the interval and climax. The eerie atmospherics in these sequences enhance the proceedings.

Coming to the flaws the writing could have been more logical given the genre of Mrityunjay. The way Jay finds out clues on some occasions comes across as too implausible. Also, the police characters become more of bystanders depending wholly on Jay.

Final word: Mrityunjay is a good watch for fans of crime thrillers in spite of some implausibility’s.