Rang de Basanti ****

Of late, filmmakers in Bollywood have been showing a penchant for conceiving non-formula oriented flicks. With Rang De Basanti (RDB), this newly found freshness only gets better. Director Rakeysh Mehra has churned out a multi layered visual rhetoric catering to the likes of a niche audience without affecting the sensitivities of the front benchers. It is a piquant discourse, served with a dash of sugar coated repartee that aids it in acquiring a commercial flavor, without really losing its pungent smack.

RDB is a metaphorical tale of the battle between the forces that tend to dismantle the harmonious fabric of the society, and the counter forces that arise out of the social order to intercept their efforts. The narrative emphasizes on some concerns by examining a few episodes that have shaken our nation in the recent past from a very unconventional perspective, without being very preachy. Marked by a gradual, but coherent transformation of the conscientious composition of the characters, the film beautifully drives home the point that revolution comes from within.

Sue (Alice Peyton), a filmmaker, chances upon a diary of her great grandfather who served in the British Police during the anti colonial movement led by Chandrasekhar Azad and Bhagat Singh. Fascinated by the accounts of the revolutionaries mentioned in the diary, she decides to a make a documentary feature on them. Upon being refused a grant, she gives up her job and resorts to her friend Sonia (Soha Ali Khan) for help.

Enter DJ (Aamir Khan), Karan (Siddharth), Aslam (Kunal Kapoor) and Sukhi (Sharman Joshi), a group of youngsters, embracing a laidback lifestyle and subscribing to the philosophy of “eat, drink and make merry”. Though these guys are shown to be oomphing with energy and having a time of their life, they carry a certain sense of quirky restlessness about them. Sue envisages that they would make a perfect fit for her cast and convinces them to act in her film.

The narrative oscillates between the allegorical images of the revolutionary movement and the filming of the documentary. Cinematographer Binod Pradhan does a wonderful job with the camera, capturing the present with a dazzling digital collage and the past with completely contrasting pale visuals. The foot tapping background score interspersed with blaring vocals hammers in every frame and blends seamlessly with the plot.

The narrative suddenly takes a sharp, startling turn in the second half and assumes a gloomy tone when the gang learns that Sonia’s fiancé Ajay (Madhavan) is killed when the MIG aircraft which he was flying, crashed due to a technical snag. The rest of the film deals with how the youngsters take it upon themselves and decide to revolt against the establishment.

The wonderful analogy between the revolutionary movement of the radical freedom fighters, and the outbreak of a crusade by current day denim clad city urchins, adds an intellectual dimension to a seemingly transparent script. The subtle allusions to hypocritical saffron clad activists, rampant bribery and the apprehensions of the minorities tend to make the narrative encompass a broader dimension.

It appears to be in the fitness of things that the actors take charge of the stage set for them. All the artists blend into the characters with consummate ease. Aamir Khan makes a strong comeback after his Mangal Pandey fiasco with a stunning performance. The incessant comic slant is carried off with a touch of cool, the more serious characters are dealt with utmost finesse and the melodrama is kept well under control.

Vivacious, and the same time, restless, Rang De Basanti is a cinematic achievement of our times. Don’t miss it.