2 Stars (out of 4)
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Indian politics is tricky business. Not only is it plagued by the usual greed and corruption that seems to affect governments everywhere, but there’s also bribery at every level of bureaucracy, from the lowliest clerk to the highest minister.
Still, it’s not so complicated that it’s beyond comprehension, even to one who lives outside the system as I do. In Satyagraha, writer-producer-director Prakash Jha offers such obvious, detailed explanations for everything that it borders on condescending.
Among the larger themes critical of a government so bloated it can no longer serve the common man is the story of the moral improvement of an aspiring telecom magnate: Manav (Ajay Devgn). He’s introduced on the occasion of his best friend’s wedding. Akhilesh (Indraneil Sengupta) dreams of improving Indian infrastructure before one day following in the footsteps of his father, Dwarka (Amitabh Bachchan), and becoming a teacher. Dwarka criticizes Manav for choosing big business over a life of social service, and Manav leaves before he can see Akhilesh wed to Sumitra (Amrita Rao).
Three years later, Manav returns to the town of Ambikapur for Akhilesh’s funeral, which follows what appears to be a random road accident. (Be warned that his death scene is gruesome.) Investigative journalist Yasmin (Kareena Kapoor) discovers that Akhilesh’s death may have been connected to the collapse of a bridge he was working on. Also during Manav’s return, Dwarka becomes the face of a revolution, after he’s jailed for slapping a corrupt bureaucrat (who totally deserved it).
There’s nothing inherently wrong with the story, it’s just the way it’s told. Thematically, Satyagraha is like an imitation of Swades — a very heavy-handed imitation. Instead of allowing Manav’s inevitable change to social activist to occur in the course of the story, we’re told at every step of the way why things are happening. Dwarka’s preaching on the evils of capitalism are emblematic of the film’s tendency to tell more than it shows.
Even the music goes over the top to provoke emotions: A crowd gathers to protest Dwarka’s imprisonment; patriotic music swells; the crowd begins to sing: “The public rocks!” It’s corny.
Considering that Satyagraha is all about corruption, an instance of product placement — in which Sumitra instructs her maid to open up a box of name-brand rice: “because we have to cook the rice right” — feels particularly icky.
The A-list cast generally delivers performances befitting the actors’ stardom. Manoj Bajpayee is at his reptilian best as the most corrupt of the corrupt politicians. Arjun Rampal’s hair is as luxurious as ever in his role as a student leader.
Again, there’s nothing really wrong with Satyagraha. There are just more inspiring political films out there.