The Interpreter of Movies : Madaari (2016)


1. I am as common a viewer/reviewer, as the protagonist of Madaari and I am as uncommon an admirer, as Sahabzade Irfan Ali Khan`s charisma.

2. In view of the above, it is highly probable that this review may be perceived to be coloured but can`t help much – I am more of a Jamoora of the art of The Fourth Khan than a critic.

3. Please be rest assured, though, it is not paid for… 🙂
Fine! Where do we commence interpreting, the acts of Madaari,from? Lets not discuss the Who, What, Where, Which of the Madaari`s plot. As the character of Jimmy utters, let us deliberate the Why.

It is not a feature film – it is a reflection `bout the refraction of the lives of the regular guys of India. I use this term to define the majority citizens, as I could not find the meaning of the oft used term, “Common Man” (even having bugged Irrfan, a couple of times, on this, via social media).

It is said to be inspired by true events, which adds insult to the perennially injured regular Indian. It virtually and digitally projects the actuality of its viewers.

What does a real-life Madaari do? He makes his living by entertaining us. We enjoy, snap, clap, pay up, discuss a while and move on from him. He doesn’t. That`s his world, after all. Thats is the world of every Indian flick and its watchers. Watch out! Not this one.

This Madaari leaves the message, which we all miss. See regulars, you are the bear and the monkey and the Jamoora! The question is Why? You are a wild animal and you are stronger than me. Then Why? It is because I have made you believe that you are weaker than me. You keep being nuts for peanuts – I am happy with my doughnuts. You keep being a bear – I keep having a beer. Being wild, you would never appreciate that you have made me; not vice-versa and the day you realise this, party`s over. Thats my side of fear but SsHHH! I am not telling you, this!

The late Nida Fazli would have summarised this, quoting his words from Dhoop (2003):

“Hukumaton ko badalna to kuch muhaal nahin,
Hukumatein jo badalta hai woh samaaj bhi ho,
Har ek ghar mein diya bhi jale anaaj bhi ho,
Agar na ho kahin aisa to ehtezaz bhi ho!”

You may find quite a few commonalities between ‘A Wednesday!’ (2008) and Madaari (Jimmy and the dress code of the minister excluded). But…

Where the concern remains the same, the former wakes the system, without getting personal – the latter, shakes the ones running it, getting personal. Where unaccountability remains the common factor, the former resents the inaction of the system – the latter resents the actions of the system.
Where the former represents the regular guy – the latter represents only himself.
Where the former is not okay with the way system works, the latter is okay till it doesn`t impact him – he is okay with the indirect taxation; not direct.

And that is where the thread takes the viewer from India of 2008 to India of 2016. Haven`t we stopped co-existing, each passing day? We have. Period. And that was the discreet message of this Madaari – Not my circus, Not my monkey!

Madaari is defined by the character of Tushar Dalvi – “Sach Darawana Hai! Sarkaar Bhrasht Hai, Yeh Sach Nahi Hai. Bhrashtaachaar Ke Liye Hi Sarkaar Hai, Yeh Sach Hai.”

There is no point of encomium for Irrfan. Please refer to the disclaimer, as above (by the way, I am still hunting for all episodes of ‘Darr’ and ‘Star Bestsellers’). Suffice to say that you don`t often see today`s viewers with fear & tear, both, in their eyes. Jimmy is the parenthesis to Madaari, of Irrfan. Together, they have been a priviledge since ‘Haasil’ (2003). And of course, the Dumroo of Madaari, Nishikant Kamat (the man who gave us thrillers like ‘Mumbai Meri Jaan, 404 and Drishyam’) – Hats Off!

Watch it, O! Regular Guys, with your beloved child in your lap,
Only then would you realise the importance of Madaari`s tap!