The words of acclaimed French filmmaker Jean Renoir, who famously stated that a director essentially makes one film throughout their career, only to break it apart and remake it, resonated deeply with me this week while watching Anurag Kashyap’s latest offering, Nishaanchi. This sentiment, which I first encountered years ago while observing the careers of Mahesh Bhatt and Ram Gopal Varma as their creative output began to wane, now feels particularly apt for Kashyap.
Anurag Kashyap, undeniably one of contemporary Indian cinema’s most distinctive voices, appears to have deconstructed his celebrated cult classic, Gangs of Wasseypur (GOW), transforming its core elements into a new narrative. He then seamlessly reassembled these fragments into Nishaanchi, a fresh screenplay delving into themes of crime, revenge, and intense sibling rivalry.
Nishaanchi (Hindi) – Key Details
- Director: Anurag Kashyap
- Cast: Aaishvary Thackeray, Vedika Pinto, Kumud Mishra, Monika Panwar
- Runtime: 178 minutes
- Storyline: A story of twin brothers caught in the crosshairs of crime and deceit.
While Nishaanchi is imbued with Kashyap’s signature potent social commentary, particularly on patriarchy and the deeply entrenched politician-criminal nexus in India’s Hindi heartland, these themes aren’t entirely novel to his repertoire; some of his explorations of the human condition here feel somewhat familiar. Nevertheless, much like GOW, Kashyap masterfully subverts conventional Bollywood tropes and film titles, crafting a tantalizing cinematic experience that, despite its occasional missteps, shines brightly in moments. A particular highlight is the clever limerick woven from classic films like Andha Kanoon, Sarkar, and Baghban.
At its heart, Nishaanchi is a tale of filial revenge, with Kashyap relocating characters reminiscent of Faizal, Mohsina, and Nagma from Wasseypur to Kanpur, reimagining them as Babloo, Rinku, and Manjari. Aaishvary Thackeray, portraying the titular ‘Nishaanchi’ Babloo, struggles initially to find his footing. The film’s early segments, filled with excessive posturing and dialogue exchanges between Babloo, his identical twin Dabloo, and love interest Rinku (Vedika Pinto), often feel meandering. The plot truly kicks off when a botched bank robbery lands the flamboyant Babloo in jail, paving the way for the quieter Dabloo to grow closer to Rinku.
However, the narrative truly gains momentum and becomes ‘zabardast’ (gripping) – quite literally – once Kashyap skillfully introduces a flashback sequence. Here, we meet Jabardast (Vineet Kumar Singh), a talented wrestler and loyal friend, who tragically succumbs to the nepotistic schemes of his guru (Rajesh Kumar) and the cunning manipulations of his deceitful friend, Ambika (Kumud Mishra). His indomitable widow, Manjari (Monika Panwar), a former trap shooting champion, bravely resists Ambika’s advances but ultimately fails to shield young Babloo from his corrupting influence. Ambika then assumes the role of godfather to the brash young man. Following a stint in juvenile prison, Babloo returns, determined to restore order, only to discover his former mentor now stands as an obstacle between him and his beloved.
While many of the film’s underlying messages have been explored before, Kashyap weaves a rich tapestry of poignant and lively scenes, effectively capturing the hormonal surges experienced by the audacious Babloo and the restless Rinku. He masterfully delves into intriguing character dynamics: a cunning friend whose timidity transforms into an unexpected asset, and a young woman who develops feelings for her incarcerated boyfriend’s twin brother. Kashyap’s prowess truly shines in his exploration of these taboo territories, where even the slightest sound can carry immense emotional weight. Monika Panwar delivers a powerful performance, fully embodying her well-written character, while Vedika Pinto, though competent, occasionally feels as if she’s channeling Huma Qureshi’s past roles.
It’s often said that creative individuals must step outside their comfort zones to truly evolve. In Nishaanchi, Kashyap’s noticeable shift from the polished ‘velvety’ aesthetic of mainstream Bollywood towards the culturally rich and grounded narratives often found in Tamil and Malayalam cinema is clearly visible in his Kanpur-set chronicles.
Kashyap’s storytelling here possesses a distinct folksy rhythm, expertly capturing Kanpur’s boisterous local character, complemented by a modern, groovy background score that resonates with contemporary audiences.
Positioned at the dawn of the new millennium, Kashyap’s world subtly mirrors the recognizable faces and political currents of our own. Rinku, for instance, evokes the spirit of popular stage performers like Sapna Chaudhary, while the akhara guru’s rhetoric echoes that of politicians who climbed from humble beginnings. The director, acclaimed for Mukkabaaz, unflinchingly portrays the shattered aspirations of athletes lacking support. A particularly poignant scene, where Jabardast gently cradles his child alongside his mother’s hard-won shooting gold medal, is truly chilling.
However, at a certain juncture, Kashyap’s passion as a cinephile seems to overshadow his storytelling instincts. While the blend of Sholay and Scarface elements feels initially apt and intriguing, there are prolonged sequences where these cinematic homages veer into self-indulgent showmanship.
Furthermore, it appears Kashyap has burdened newcomer Aaishvary Thackeray with a role perhaps beyond his current capabilities. While functional as both Babloo and Dabloo, he unfortunately lacks the raw intensity and ‘firepower’ that a frequent Kashyap collaborator like Nawazuddin Siddiqui might have brought to the roles. Similar to Vedika, Aaishvary often embodies a ‘type’ rather than a fully realized character. In stark contrast, Kumud Mishra masterfully navigates the nuanced complexities of his morally ambiguous character, Ambika, delivering a performance that is truly in peak form.
Unlike Gangs of Wasseypur, Nishaanchi was not advertised as a two-part film, which initially makes its fragmented structure somewhat challenging to grasp. While it achieves a significant emotional climax at the intermission, the second half feels drawn out as Kashyap, known for losing narrative focus, continuously introduces minor plot points, seemingly postponing the inevitable resolution. When the film abruptly concludes, one might feel a sense of ‘Oh, no!’ Dabloo’s storyline remains largely unexplored, leaving the audience to question if they truly care about his fate.
A poignant moment occurs when Manjari tells Babloo about the fundamental difference between a jungle and a zoo, remarking that in a zoo, the status of a tiger is no different from that of a monkey. Kashyap himself, an industry veteran, surely understands that this same harsh reality often applies to films in both the festival circuit and at the box office. Ultimately, there’s no hiding one’s true stripes.
Catch Nishaanchi in theaters now.