The renowned French filmmaker Jean Renoir once observed that a director essentially creates one core movie throughout their career, simply re-imagining and re-telling it in different forms. This sentiment resonated deeply while watching Anurag Kashyap’s latest offering, Nishaanchi, a feeling I previously experienced with the works of Mahesh Bhatt and Ram Gopal Varma as their creative output began to falter.
Kashyap, celebrated as one of contemporary cinema’s most distinctive voices, appears to have drawn heavily from the essence of his iconic Gangs of Wasseypur (GOW). He takes familiar thematic fragments – crime, vengeance, and brotherly conflict – and somewhat loosely weaves them into a new narrative.
While Nishaanchi attempts a potent social critique, delving into patriarchy and the deep-seated politician-criminal ties prevalent in the Hindi heartland, these themes are not entirely fresh territory for Kashyap. Some of his portrayals of the human condition here feel almost formulaic. Yet, much like in GOW, he skillfully flips conventional Bollywood tropes and film titles, crafting an intriguing, albeit inconsistent, cinematic journey. A particular highlight is a clever limerick interwoven with references to classic films like Andha Kanoon, Sarkar, and Baghban.
The narrative, deeply entrenched in a tale of filial revenge, sees Kashyap transpose character archetypes from his Wasseypur saga to Kanpur. Here, we meet Nishaanchi Babloo (played by Aaishvary Thackeray), who initially struggles to find his footing. The early scenes, focused on Babloo, his twin Dabloo, and love interest Rinku (Vedika Pinto), are filled with excessive posturing and dialogue that often feel meandering. When a bank heist goes awry, Babloo is incarcerated, paving the way for the quieter Dabloo to grow closer to Rinku.
The film truly ignites, becoming ‘zabardast’ (gripping) in the most literal sense, when Kashyap delves into the past. We are introduced to Jabardast (Vineet Kumar Singh), a talented wrestler and loyal friend, who becomes entangled in a web of nepotism orchestrated by his guru (Rajesh Kumar) and the manipulative schemes of his cunning friend, Ambika (Kumud Mishra). Jabardast’s spirited widow, Manjari (Monika Panwar), a former trap shooting champion, bravely resists Ambika’s advances but cannot shield young Babloo from his influence, leading Ambika to become the arrogant boy’s godfather. Upon returning from juvenile prison, Babloo aims to reclaim his life, only to find his former mentor obstructing his path to love and justice.
Much of the film’s thematic material echoes previous works, yet Kashyap manages to craft a vibrant tapestry of both tender and explosive moments. We witness the cheeky Babloo and the restless Rinku navigate an awakening of emotions. The narrative cleverly explores complex relationships: a cunning friend whose fear morphs into an unlikely advantage, and a young woman who develops feelings for her incarcerated boyfriend’s twin. Kashyap shines in these intricate emotional territories, where even the smallest detail can carry immense weight. Monika Panwar delivers a powerful performance, fully embodying her compelling character. Vedika Pinto, while competent, occasionally gives the impression that she is consciously channeling Huma Qureshi, perhaps a directorial or self-imposed influence.
It’s often said that artists venture outwards to return with fresh perspectives. Kashyap’s journey from the ‘velvety’ mainstream of Bollywood to a more culturally grounded space, perhaps influenced by Tamil and Malayalam cinema, is palpable in these Kanpur chronicles.
Kashyap imbues his storytelling with a distinct folksy rhythm, perfectly capturing Kanpur’s boisterous character, all set to a groovy background score designed to resonate with contemporary audiences.
The film, set as the new millennium dawns, offers sharp reflections of contemporary society and politics. Rinku’s character evokes the energy of popular stage performers like Sapna Chaudhary, while the akhara guru’s rhetoric mirrors that of a grassroots politician. Kashyap, known for his work in Mukkabaaz, unflinchingly portrays the dashed hopes of athletes lacking support. A particularly poignant moment sees Jabardast cradling his child, a gold medal won by his mother in shooting, creating a truly chilling impact.
However, at a certain juncture, Kashyap the cinephile seems to overshadow Kashyap the storyteller. While the blend of Sholay‘s epic scope with Scarface‘s gritty intensity initially feels apt, extended periods see these cinematic nods devolve into mere ostentation.
Furthermore, newcomer Aaishvary Thackeray, cast in the dual roles of Babloo and Dabloo, seems to have been given a challenge beyond his current capabilities. While he performs adequately, he notably lacks the raw intensity and presence seen in Kashyap’s frequent collaborator, Nawazuddin Siddiqui. Similar to Vedika, Aaishvary often portrays a type rather than a fully developed character. In contrast, Kumud Mishra masterfully navigates the delicate balance of his role, delivering a stellar performance as the morally complex Ambika.
Unlike GOW, Nishaanchi was not promoted as a two-part film, which initially makes its fragmented structure somewhat disorienting for viewers. The movie builds to an emotional crescendo at intermission, but then Kashyap seems to lose momentum, continuously introducing minor plot points without driving towards a satisfying conclusion. This tendency to meander in the second half becomes apparent, and when the film abruptly ends, one is left feeling incomplete and questioning the ultimate relevance of undeveloped arcs, such as Dabloo’s untapped potential.
A profound moment arises when Manjari reminds Babloo of the crucial distinction between a wild jungle and a controlled zoo, where the inherent status of a tiger becomes indistinguishable from that of a monkey. This insightful metaphor, the reviewer suggests, might also apply to the disparity between critical acclaim on the festival circuit and commercial success at the box office for a filmmaker like Kashyap, implying that authenticity should never be compromised.
Currently, Nishaanchi is playing in cinemas.