Pooja Ladha Surti has done a commendable work in editing department, she cuts scenes before the action in them has even ended, and it works because there’s no need for us to see further, plus it provides a great pace to narration. Or the use of ‘Ek ajnabee haseena se’ song, and the brilliant bg piece used when Liak comes out of jail (was it RD Burman?). Sriram’s movies always have references to old hindi movies, and he has a knack of doing it very stylishly, same is the case here when Raghu tells a landlord he wants house for 20 yrs and its cut to Sholay’s gabbar dialogue scene on Liak. And Inspector Govind Mishra (Kumud Mishra) who wants to retire by solving the robbery case, and how he ends up seeking retirement fund with the robbery money.
Also the role of Shobha (Divya Dutta) in lives of Liak and Raghu, who is willing to find whereabouts of Raghu so that she could help Liak who suffers from cancer, a punishment for his deeds even before Raghu takes revenge. Liak’s relation with his caring mother results in a very well done scene where his mother’s constant blabbering against his father makes him question her if she even remembers anything good about his father, and the decision he takes following that conversation turns the film around. Be it Liak-Jhimli (Huma Qureshi, playing a prostitute role) relationship where they share light moments in form of Liak’s ‘gandi baat kar na’ or post 15 yrs gap scenes where they miss the old times. There are various dark humor elements inserted in very unexpected situations, like Liak’s conversations with fellow jail people or his hilarious attempts to run away from jail, or Liak telling the guy who follows him everywhere that they should can go to Pune on sharing to save money, or wife of Harman so willing to sleep with Raghu to save her husband that she tells him ‘bedroom upar hai’.Īnother high point is the various sub-plots that have their own significance while the Raghu-Liak tussle goes throughout the movie. Something I feared won’t happen before going for the movie, and how happy I was. Consider the scene where Raghu is having coffee rewinding to a old memory and suddenly comes back to reality, makes a phone call, and enters song ‘Aaj mera jee karda’, its like Sriram keeps the key of romantic moments hidden with him and uses very rarely in narration, pretty much similar to how Raghu keeps his memories locked in a room shown earlier in the movie.Īnd what this does is that we end up watching almost 90% of Varun Dhawan in a not seen before role, most of it in that bearded look. Raghu-Misha story gets least possible screen time, that too in 2 mins flashbacks. If you belong to the category who prefers to see complete romantic story before the tragedy appears then Sriram will disappoint you, as he doesn’t believe in these cliches.
Gangs of badlapur movie#
The tagline of movie says ‘Don’t Miss the Beginning’, which serves its purpose in a very skillfully directed long opening wide angle shot where it takes almost a minute for us to make out what is about to happen until Misha enters into the frame, or if you are watching very closely when 2 guys on bike enter and pull the shutter of a bank down. Raghu seeks revenge from Liak and wants to find his other partner at any cost even if he has to take a unusual path for it. Liak is arrested but he hides his partner’s name. Raghav/Raghu(Varun Dhawan) loses his wife Misha (Yami Gautam) and son in a bank robbery, they both are shot dead by Liak (Nawazuddin Siddiqui) and his partner Harman (Vinay Pathak). But Badlapur is very different from all of them, and it has the flavor of Sriram Raghavan that was found missing in Agent Vinod. Revenge based themes have been happening a lot in our films since some years now, like Gangs of Wasseypur, Agneepath, Ek Villain, Haider etc.