Even with so many good titles now on Netflix — Shanghai, Company, and the underrated comedy The Shaukeens among them — the new addition I am most excited about is the batshit crazy 2003 crime caper Boom. Katrina Kaif’s film debut costars Top Chef host Padma Lakshmi, a Bo Derek-obsessed Amitabh Bachchan, and Jackie Shroff, whose character has a secretary that lives under his desk. You have to see Boom to believe it, it’s just that insane.
For everything else new on Netflix — Bollywood or not — check out Instant Watcher.
Thanks to Just Me Mike for lending me his DVD copy of Company! Check out Mike’s film and TV reviews here.
Having seen four of his Hindi films dating back to 2008’s Sarkar Raj, it’s fair to say that I am not a fan of director Ram Gopal Varma. Still, wanting to know how he earned his acclaim, I watched one of his earlier movies. 2002’s Company is easily the best Varma film that I’ve seen, yet it also confirms my aversion to many of his directorial quirks.
Company‘s plot is based on the lives of notable Mumbai dons, and the story certainly feels authentic. A high-ranking gangster named Malik (Ajay Devgn) recruits a goon named Chandu (Vivek Oberoi) to act as his lieutenant, and together they wrest control of Mumbai’s most powerful gang from its aging patriarch. They expand the gang’s influence into movies, real estate, and politics, only for egos to get in the way and ruin the fun.
Criminal enterprises of this sort — where legal and illegal activities are intertwined across borders — are complex, thus the burden falls on filmmakers to explain them in the simplest way possible. Writer Jaideep Sahni’s story gets better as the film goes along, but only after a confusing setup that should have been condensed.
Malik’s emotional detachment enables him to kill without batting an eye, but it makes him a hard character to love. Instead, the audience is supposed to empathize with Chandu. We watch him transform from street thug to attaché, dealing with the internal conflict the change awakens. We also get see his romance with Kannu (Antara Mali) blossom, whereas Malik’s relationship with Saroja (Manisha Koirala) preexisted.
The women’s role in the narrative can’t be minimized. They follow their other halves to Hong Kong, where the gang sets up a base after police pressure in Mumbai becomes too strong. The friendship between Kannu and Saroja makes Hong Kong feel like home away from home, but it also causes a catastrophic misunderstanding.
Back in Mumbai, chief of police Srinivasan (Mohanlal) waits patiently for the gang to implode. Mohanlal’s performance is as laid back as that of Devgn, but it makes sense in the context of his character. Srinivasan chips away at the enterprise, knowing that one day, cracks will form that he can exploit.
The sprawling landscape of characters — played by some of Bollywood’s best supporting actors — leads to surprising twists as the story moves along. Patience is rewarded in Sahni’s story. He deserves additional kudos for making the women in the plot integral to the story, rather than just window dressing.
Yet time after time, I find my attention being drawn away from the story to Varma’s distracting camera techniques. Whether it’s crazy angles, garish filters, or blocked lines of sight, the techniques seem to exist only for their own sake, not to serve the narrative.
Lighting is a persistent problem in Company. The camera alternates between closeups of two characters having a conversation in a sunny room, with one character’s face brightly lit while the other is grainy with shadows. When Malik delivers one important line, you can’t even see his facial features, he’s so covered in shadows.
Probably the worst example is a reaction shot of Chandu late in the movie. As he mutely reacts to bad news, a spotlight illuminates only his mouth and nostrils. How is one supposed to judge Oberoi’s performance in this scene? By the quality of his nostril-flaring?
I may never be a Ram Gopal Varma fan, but I appreciate Company for its riveting exploration of gang politics. It’s a more enjoyable way to encounter his quirks than many of his more recent films.