A dazzling celluloid brilliance by the master craftsman of Indian cinema – Sarkar Raj
The cast and the crew
Amitabh Bachchan… Subhash Nagre aka Sarkar
Abhishek Bachchan… Shankar Nagre
Aishwarya Rai Bachchan… Anita Rajan
Tanisha Mukherjee… Avantika Nagre
Ravi Kale… Chander
Victor Banerjee…Mike Rajan
Supriya Pathak… Pushpa Nagre
Dilip Prabhavalkar…Rao Saab
Rajesh Shringarpore…Sanjay Somji
Govind Namdeo…Hassan Qazi
Sayaji Shinde…Karunesh Kaanga
Upendra Limaye…Kantilal Vora
Director Ram Gopal Varma
Producer K Sera Sera, Z Picture Company
Writers Prashant Pandey
Ram Gopal Varma
Music Amar Mohile
Cinematography Amit Roy
Editing Nipun Gupta
Distributed by Adlabs Films,
Balaji Motion Pictures
Release date June 6, 2008
THIS film is a sequel to Sarkar which introduced the central characters, Subhash Nagre (Amitabh Bachchan) and his son, Shankar Nagre (Abhishek Bachchan). In Sarkar Raj,
the Nagre duo still live with social sanction and unprecedented popular support despite being on the wrong side of the law.
The theme of the film revolves round the dictum : Power is never given, it has to be taken
Anita (Aishwarya Bachchan), CEO of Sheppard Power Plant, an international company, brings a proposal to set up a power plant in rural Maharashtra before the Nagres. Shankar (Abhishek Bachchan) is quick to realize the benefits the power plant can bring to the people.
After convincing Sarkar (Amitabh Bachchan), who is against it for various reasons, Shankar undertakes a journey along with Anita to the villages of Maharashtra to mobilize support from the masses.
However, Shankar’s dream project gradually becomes a political minefield. Various mighty political and other forces gang up to bring down the regime of Sarkar and obliterate Shankar’s name from the political horizon.
And therefore, it is time for the aging tiger, Subhash Nagre, to roar again and let loose his vengeance on those who dared to harm his family and his people.
The B3 of Bollywood, Amitabh, Abhishek and Aishwarya have come out with sterling performances. They all appear as if they have given their best to the characters they played. The conflicting chemistry of these characters on screen is simply mindboggling.
Dilip Prabhavalkar as Rao Saab and Rajesh Shringarpore as Sanjay Somji have given surprisingly convincing performances.
All other actors playing the support caharacters have done more than an adequate job.
Ramgopal Varma and Prashant Pandey have written a gem of a script and the screenplay of Sarkar Raj is an example of how important the clear delineation of characters and characterization is. RGV is back in his best elements and gives a powerful narration about power play.
The cinematography is simply scintillating and the crisp imaginative editing enhances the visual intensity value of the film. The audiography is in sync with the style and content of the narration.
If cinema is known as the director’s medium, then it has to be said that Sarkar Raj is undoubtedly a celluloid masterpiece from Ramgopal Varma, the master craftsman of Indian cinema.
Sarkar Raj is an astounding audio-visual experience. It is a must-watch film for enjoying the superlative performances by the cast and the spectacular cinematic craftsmanship by the crew.
4.25 out of 5
Here is what Ramgopal Varma says about Sarkar Raj
At the outset I want to make it clear that Sarkar Raj has nothing to do with Godfather-2. It also does not take off from where Sarkar ended. In the life of a man like Sarkar there are bound to be many incidents which will give rise to new complex situations. So for want of a better word I would like to describe Sarkar Raj as the new adventures of the Nagre family.
For me, the Sarkar films are about framing and showcasing the aura of power.
I have employed each and every aspect of film making, be it music or screenplay or cinematography, for one and only one purpose- that is to capture the intensity in the actors’ eyes, through which we see a world of high drama be it politics, treachery, revenge, passion, courage, love or relationships.
Sarkar Raj is much bigger than Sarkar in scale mainly because the issues and character conflicts it deals with are much more complex and intriguing than Sarkar.
I, along with my crew, pushed the upper limits of technique to make each frame and sound vibrate with power. But no technique is of any value unless it is backed by performances.
I have always believed that there is no greater cinematic visual than an actor performing in tight close-up. The faces of the Bachchans in Sarkar Raj are the ultimate testimony of that.
The film belongs to me but the power belongs to the Bachchans