Shamshera Story: Shamshera, the tribal chief, dies while attempting to win his people’s freedom. 25 years later, his son takes up the cause, avenging his father’s death and rescuing his people from the control of the British and communal leaders.
Shamshera Movie Review Ranbir Kapoor
Shamshera has strong Thugs of Hindostan (2018) vibes. Not really in terms of craftsmanship (although this is near) or time period (they are just a century apart). But more specifically, the typical Hindi fantasy-action-adventure historical drama rarely stands alone as a unique creature.
The size and daring of popular South Indian artists serve as inspiration for the fantasy-action segments. The quest is a repurposed mashup of Hollywood period/superhero epics and Bollywood Westerns from the 1970s.
(The qualifiers “homage” and “massy” automatically exclude terrible movies.) Additionally, the historical drama is little more than a high-pitched drama that employs historical events as a weak plot device to flaunt more fantasy, action, and adventure.
Shamshera Movie Review Ranbir Kapoor
In Shamshera’s case, the 1871 Criminal Tribes Act is interpreted as a garish, boisterous, and disorienting movie about a dacoit who battles to liberate his imprisoned tribe from the grasp of a wicked Indian puppet of the British empire.
The cultural setting is unimportant in this case. The movie might have been dubbed “The Loin King” and we wouldn’t have known any different given the visually appealing dance moves, muscular bruising, and wonderfully sun-parched skin on display (or happier).
Shamshera, despite its impressive visual effects, is a hollow holdover from a bygone period of narrative, one in which handsome crows sacrifice themselves for a heroic warrior; a glamorous dancer trades in her 1890s lip gloss for faded Nirupa-Roy-style sarees and darker skin when she marries a dacoit;
where a troubled pregnant woman pops out the baby into her own hands (leading a viewer behind me to name the baby “Maggi”); where the desert magically produces medium-sized rocks if a character must be stoned to death.
I’m all for campy-cool flicks, but Shamshera completely misses the mark, to the point where the plot’s tenuousness even becomes apparent. This is a major flaw in tales that mask their plain storytelling with a veneer of inventiveness.
Shamshera (Ranbir Kapoor), the valiant head of the lower-caste Khameran clan, is seen negotiating a dreadful deal with the British government in the movie’s opening scene.
In exchange for separate territory in the made-up city of Kaza, he consents to refrain from pillaging upper-caste Indian rulers and merchants. Nobody is surprised when the Khamerans are instead imprisoned in a fort built specifically to oppress them since the broker is an insane Indian commander named Shuddh Singh (Sanjay Dutt).
Shamshera then devises the most convoluted strategy to secure the liberation of his people after experiencing remorse. You’d think he’d have trouble trusting the authorities after they deceived him.
Shamshera Movie Review 2022
But instead, he makes the decision to escape from jail, go back to being a thief, and steal enough gold to out-bribe the upper caste Indians and pay the British to sign a new freedom deal. The process of leaving jail is a complex maze in and of itself. Shamshera decides to ascend to the top of the fort so that his dive would take him deep enough to find the underwater passage going to the outer river.
Shamshera dies in the process, and Balli (Ranbir Kapoor), his rebellious son, is left to finish this exceedingly challenging journey 25 years later. I keep talking about this strategy since it doesn’t fit with the heroes’ stature in the movie.
Both Shamshera and later Balli, who transforms into a type of Shamshera 2.0, are shown as defying gravity and being skilled fighters for whom using violence is a direct means of expression. They should have no trouble crushing the jail guards, taking down Shuddh Singh, and taking control of the city under police authority.
It’s like seeing a cape-clad superhero waiting in line at the bus stop because the screenplay makes the error of turning a legendary, larger-than-life figure to an awkwardly bureaucratic struggle for freedom.
The movie makes bizarre attempts to up the stakes for Balli’s quest once he too escapes from prison. For example, the dacoits’ final option for completing their gold haul at one point is to rob a wedding. High-ranking British officers are frequently seen at weddings.
However, the dacoits concentrate on taking the gold instead of holding them captive and forcing a peace deal, messing that up as well. They just have one job, I want to say.
To justify the scope of the film, the author keeps inflating the story using such devices. Balli’s band of merry dacoits suddenly go through an existential period when it wants to start a fight (Sonchiriya won’t like this), where they all gloomily dissolve and go back to performing odd tasks to keep a low profile throughout the course of one sorrowful song.
There is no explanation for this other than to cover the clear road in the movie with potholes that have been covered with graffiti. The plot of Shamshera eventually comes to such a standstill that a Dhoom 2-style robbery scenario in which the Queen’s Crown is taken off a speeding train hijacks the action.
Shamshera Movie Review cast
Unfortunately for movies like Shamshera, we live in a post-Baahubali world when a single-take, 19th-century rail heist including one explosion and a beautiful white horse can not pass inspection anymore. The action choreography here is ambitious.
The majority of the other set pieces lack rhythm and a sense of location, and director Karan Malhotra (Agneepath, Brothers) frequently passes off his propensity for noise as artistic boldness. .
Two Kaza policeman kindly debate the whereabouts and motivations of Balli when the narrative runs out of expositional methods in a painfully similar exchange to Asoka’s hilarious banter between Johnny Lever, Suresh Menon, and Raghubir Yadav. The majority of the performances in the movie are overshadowed by the VFX.
Ranbir Kapoor’s comeback to the big screen as tough father Shamshera and rogue son Balli is obviously an effort to be more’massy’ and approachable. He can dance and groove well, but he struggles with the masala-movie tone.
The strain in Kapoor’s voice is audible in the most dramatic scenes, as the warrior must scream at the evil with poetic contempt.
Although the genres are different, the dissonance between a superb performer and subpar content was somewhat reminiscent of Shah Rukh Khan in Chennai Express.
I kept myself entertained by believing that this was Kapoor expanding his Sanju (2018) performance in a triple-role because Sanjay Dutt’s portrayal of the demonic villain Shuddh Singh is a Disney-level caricature that lacks context and depth.
The one positive outcome of the movie’s fixation with Shuddh Singh is that there are both nice and bad Englishmen; they are not all out oppressors. Having said that, I’m not clear who the true oppressors are because the Union Jack is employed as an action prop so frequently.
There was so much Shamshera in my system when the end credits ran that I decided to delay going out the door until everyone had departed in order to enter the projection booth.
As a result, the next performance would be delayed and moviegoers would be turned away from the ticket desk, which would leave me with enough rickshaws to travel home in the rain. It goes without saying that I abandoned this idea.
Shamshera, however, did, and thus, we are. Having been driven from his homeland along with his people, Shamshera (Ranbir Kapoor), a tribal leader, is compelled to rob the wealthy, who view themselves as belonging to a higher caste.
An Indian commander in the British military named Shudh Singh (Sanjay Dutt) betrays Shamshera and forces his tribe into slavery alongside him.
Balli (again Ranbir) dedicates his life to this uprising 25 years after Shamshera sacrifices his life fighting to rescue his tribe from the dual clutches of the British and the high-caste people.
The main theme of the story revolves around how he frees his tribe and exacts revenge on those who killed his father. The background music and the slick VFX-driven graphics immediately draw you into the imagined universe set in late 19th-century India.
The video quickly provides a framework for the tribe’s origins and motivations before delving directly into Shamshera’s narrative. From that moment forward, the movie starts to drag.
It continues to be a slow-moving action-drama that features a caste-based conflict, a romantic vengeance story, and a run-in with the British Raj.
You’ll be exhausted at the end of the movie, to say so without giving away too many plot points. The movie feels way too long for its flimsy plot; in reality,, it stutters through the playtime due to numerous minor but noticeable technical issues.
Despite this, Ranbir Kapoor and Sanjay Dutt continue to be the centre of this drama. The actors give sincere performances despite a mediocre storyline, a weaker writing, and weaker dialogue.
Even if he makes a lot of effort to improve a lacklustre script, it is always a pleasure to see Ranbir on film again after a long absence. Sanjay Dutt also does a good job acting menacingly. In reality, the performers’ interactions on film are very intense each time they appear together.
The supporting players in this drama, such as Ronit Bose Roy, Saurabh Shukla, and Iravati Harshe, don’t really add much to the story. If their characteristics had been chosen with greater consideration and care, it would have been very beneficial. It’s unexpected that they have such limited room to manoeuvre.
Even Sona, a dancer played by Vaani Kapoor, falls far short in terms of an emotional curve.
The film’s action choreography is excellent, especially in the sequence just before the intermission and in some of the finale. Some of the songs from the movie’s CD will stick in your head.
as the one in the movie that introduces Balli or the love song that describes Sona and Balli’s romance. The highlights of the movie are its background music, VFX, and cinematography.
In conclusion, although director and co-writer Karan Malhotra initially seemed to have a magnificent vision, it’s his execution that appears to have let him down.
We only wish that it had all been put together more skillfully than what was visible given the scope, the available canvas, and the skills of the makers.
Shamshera, directed by Karan Malhotra, is a fictionalised account of a tribe’s struggle for survival against the oppressive British Raj, and it pays homage to films like Kranti, Baahubali, and Taras Bulba.
It is a heroic tale of the tribe’s two leaders, father and son duo Shamshera and Balli, both portrayed by Ranbir Kapoor. The villain of the piece, ironically, isn’t a (Sanjay Dutt).
Sona (Vaani Kapoor), a nautch girl, is also included in the mix; she moves like a well-toned diva and is allowed to come and go as she pleases because she is the jailor’s favourite.
Shamshera gives his life in order to free his tribe from the fort-like prison they have been held in. Balli matures to complete the task. It’s a straightforward plot that has been developed several times since Indian cinema first emerged.
As a result, there are no surprises. The treatment is the only novel element that the creators could have improved. Thankfully, Karan Malhotra has shown a lot of creativity in that regard. Shamshera’s graph is sombre and grim, that of a worried tribal chief who gives his life and dies for his people.
Balli is portrayed as a boy who develops into a man. His early scenes are quite lighthearted, but as the movie goes on, his tone becomes grimmer.
The director has also included a paranormal component in the action. It’s a great touch that the crows have gathered to announce Balli’s arrival.
Although the birds were artificially created, they have a realistic appearance. All throughout, the visual effects have been excellent.
Everything has been executed well, including Shamshera’s perilous ascent up a steep slope, Balli’s explosive sprint atop a train, and the sandstorm scene. The live action scenes have also been creative.
It’s been a while since we witnessed the effective employment of horses. Bravo to the stunt double who carried out the scene in which Balli is in risk of being mauled by an upset horse.
The lathi combat scene and the showdown between Shuddh Singh and Balli in the conclusion are both skillfully performed and are sure to garner praise from the general public. The Hindi film industry has been longing for the kind of family film that Shamshera is.
Everyone can find something there. A coming-of-age tale with strategically placed emotional moments, fantastic action, and stunning visual effects That strategy has been successfully used recently and appears to be the winning one.
The movie marks Ranbir Kapoor’s return to the big screen after a four-year absence. He last appeared in the 2018 film Sanju, as Sanjay Dutt.
Dutt is here keeping him company while the movie “a bad guy. He “s familiar with daaku films, and even if the movie was produced 20 years ago, next he “d would have portrayed the hero, and Amrish Puri or Anupam Kher might have played the antagonist.
He performs this part with all of his charismatic and larger-than-life persona. He is aware that villains on screen frequently play roles like this.
so, he “The recipe is played with just the appropriate amount of irreverence without being overly generous.
As he always does, Ranbir makes acting appear effortless. His Shamshera and Balli are distinct from one another, which is no small feat for any actor performing two roles.
He “s always had this idea of an urban hero, yet he easily switches to the role of a rural hero. And we “He has primarily played the romantic lead, But in this instance, he has proven he can hold his own as an action hero, too.
It’s fantastic to have him back in the spotlight. One can now picture him as a protagonist across genres, whether in historical, mythological, or simply plain action pictures, which has been lacking for a while.
Vaani Kapoor, who looks terrific in dances and love scenes, has been brought in to provide some oomph.
Such movies have been produced in recent years by the South Asian film industry, and Shamshera is Bollywood’s audacious attempt to copy the model.
Let’s hope that this movie serves as a catalyst for the renaissance that the Hindi cinema industry so desperately needs.