The first thought that struck me as the end credits rolled out after the movie 'Striker' was a sense of being disconnected.. Suddenly disconnected from this place I was begining to know slowly through the audio-visuals on the screen. Also I thought why I didn't feel like there was a begining and an end to a story they wanted me to see. Frankly, I didn't think this was great for the movie.. (in the commercial sense of course...). I didn't want to leave the theatre feeling incomplete. But did that mean I did not enjoy watching it? Absolutely not. I enjoyed the movie - almost frame by frame. I think my major concern then was that it didn't seem like a movie about one single aspect or person. It was about Suryakant, Malwani, the game of carrom, the city of Bombay, its under belly and a few more people. The director very effectively took us through these places, people and their lives. Then, what exactly was I looking for??
It was then it struck me that I was expecting to be told about this person, his story the people he knew, the things he did , the troubles he faced and how he over came it. Now that's pretty easy to understand and what we have been fed through our movies over decades. A unidimensional narrative that eventually leads to us to a conclusion that the director would want us to arrive at, often justifying his protagonist and in a weird way, himself. With some adequate masala thrown in, we enjoy this process of forming opinions with no questions asked.
And that is something Striker doesn't do. It does not hold your finger or throw signals at you during the movie, leading you to a particlular end. The director presents the life of Surayakant, with it's elements. What you think of them is entirely your business. I guaged this within about 10 minutes of walking out of thetheatre . We are so used to a certain pattern in cinema that we have now reached a stage where we have forgotten to experience, think and reflect. And that was the reason for that sense of doubt. And when is life ever about one single aspect? Isn't it always a bit of everything and never complete? Its that bits and peices of Suryakant that Chandan Arora brings to us that makes him seem so real, not a hero, but a person we are meeting.
Siddharth brilliantly portrays Suryakant in all his spirit, sorrows and insecurities to the point of not telling them apart. At the carrom board or at home with Suryakant's family, he looks very much the guy brought up by the tiny gulllies of Bombay. And his boyish face is one of the primary reasons the audience empathises with Suryakant. Perhaps the only effort from the director to lead us towards something. As we see Suryakant grows from a 10year old carrom enthusiast to an ambitious young man and later to a person drawn into the darker world of betting and drugs, we meet the people he meets. They come in form of an impressive supporting cast of Ankur Vikal (childhood friend), Aditya Pancholi (an underworld bully) and Anupam Kher (a cop). Through Anoop Soni, Seema Biswas and Vidya Malwade the audience relates to the Suryakant who is just like any of us with a family that loves him unconditionally.
I am glad Chandan included Suryakant's first love affair contrary to what a lot of people think was not required. When one relates the story of a boy growing up, his first love is so essential. No matter of what consequence it is to his entire life or how long it lasted. To keep the audience aware of that bitterness was essential, I thought. Though the idea of marriage-post-rape disgusts me, it somehow seems like the most natural thing in the movie. I don't know how Chandan does it, but I bought it. I guess the Madhu's (aptly played by Padma priya) interest in Surya depicted earlier in the movie dubiously justifies it.
Camera by PS Vinod is beautiful, never distracts and sets the right moods. The clothes could ve been more convincing. Acid wash jeans and pleated trousers could ve really brought in the 80's feel more effectively. Again, while the art was convincing and underplayed, smaller specific props (like telephones, furniture, curtains etc) would ve taken the audience instantly to the 80's. Songs Cham Cham and Piya Sanvara are exceptional. Expected more from Yuvan in Haq Se.
The effort put in by Chandan Arora as director is evident through out the movie. What deserves appreciation is his conviction to tell us this story of Suryakant on his terms and allow us to keep our own emotions for the guy. The lesser the expectations and pre conceived notions, more you will enjoy it. Striker definitely hits us hard and straight.
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