| July 22, 2022 (India)
Director: Karan MalhotraWriter: Khila Bisht, Karan Malhotra, Piyush MishraStars: Ranbir Kapoor, Sanjay Dutt, Vaani Kapoor
Summary: In the fictitious city of Kaza, a warrior tribe is imprisoned, enslaved and tortured by a ruthless authoritarian Shudh Singh. Shamshera is a legend for his tribe who relentlessly fights for ... Read all
Countries: IndiaLanguages: Hindi
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Shamshera 2022 Movie Review
Shamshera 2022, It’s true that Shamshera is an awful movie, but does it really explain why the company decided to drop it? The studio abandoned the picture without giving any thought to its marketing despite having spent a significant amount of money on it, spending time on casting numerous notable actors, and waited for the epidemic to subside before releasing it in theatres. Recently, Ranbir Kapoor has made his way back to the silver screen. Shamshera is a movie star, but he’s just too boring to be a re-entry point. In light of everything you’ve seen in the film, your reaction to the passive abandonment is likely to be one of complete indifference.
Ranbir Kapoor plays the role of Shamshera, the leader of a band of tribal dacoits. Sanjay Dutt’s character, Shuddh Singh, is forced to surrender to the British Empire so that his people might be freed from oppression. All of the tribe, however, is imprisoned by the empire and forced into servitude. The upper castes, represented by Shuddh Singh, have hired the empire to eradicate the Khumeeran tribe because they fear the group’s influence. Shamshera must pay a larger price to the empire than the upper castes in order to buy the freedom of his people. This, however, is impossible because of his current predicament. Shamshera is slain as she tries to flee from pursuers. As a result of his attempt at emigration, he is branded a traitor by his people. His son Balli, played by the same actor, leaves behind a legacy and an uncanny resemblance to his father.
In this fantastic Bollywood tale, the son who looks just like his late father returns to exact revenge, achieve his goals, and fall in love with the studio’s second major star, who was signed only to look stunning, sing a few songs, and give birth at the exact moment of peril. One would not tell this tale to their children as a kind of amusement. The entirety of us is exhausted by this narrative. Writing this narrative would need more effort than it’s worth to rethink the ideas made by your superior. The globe may only hold seven stories, but there are an endless number of ways to tell them. What makes Shamshera a special approach to present a familiar tale is debatable. Sorry to say that is not the case.
These days of politically insensitive mainstream Hindi films, even immature references feel timely. As a result, the portrayals of colonisers and upper castes colluding to subjugate the tribals appear justified. The concept makes sense when you consider who the protagonist is. The rescuer is a member of the group he is seeking to save, rather than an outsider. Since the sole truth about him is the legend, he is unique not just in the past but also in the present. Everything about him is off-kilter, including his appearance, his thoughts, and his manner of speech. He fits in, but is also very different from, their group. The tribals’ reliance on this hero has grown to the point where they are like corpses waiting for a rescue that doesn’t require any effort on their part. Therefore, the hero has the dual duty of leading his people to safety and sparking a revolutionary spirit inside them. They are in a mental and sensory sleep and need to be awoken.
A hero narrative has to play on the audience’s baser emotions. Every optimistic protagonist vacillates between despair and rage. Every villain I’ve ever read has wavered between avarice and brutality. Physical torture is a common kind of violence since it is simple to depict on screen, and uninhabitable environments are created for the characters to heighten the tension. It’s simple to gain the audience’s sympathy and legitimise the hero’s cause by putting their characters through hellish situations and exacerbating their anguish, but that support will fade as quickly as it was gained.
When things are blown out of proportion, you stop caring about the characters or their cause. The very act of being cruel is draining, regardless of whether or not there are ulterior motives. The guards can’t keep shouting at, insulting, and torturing the slaves in the same old way for another quarter of a century. For the next quarter-century, the adversary is unable to chuckle menacingly (or humorously). You wouldn’t get muscular if your oppressors fed you nothing but rice and gruel for 25 years. Films like Shamshera spend more time and energy developing the story’s backbone than they do making flashy visual effects, therefore it’s important to consider how script mechanics affect the final product. This is what sets Shamshera apart from Rajamouli’s RRR, which likewise centred on two hero characters defending the honour of their respective tribes against an imperialist threat. Fantastic action sequences served as the backbone of RRR. The film Shamshera is itself a show. Also, those specs are boring and ugly now.
The rise of commercially-focused filmmakers on the Rajamouli scale makes Shamshera unnecessary. Shamshera became politically insignificant and childish when anti-caste storylines emerged, especially in Tamil Cinema. The film’s aesthetic and political appeal are likely the main reasons the company decided to cease pouring money into it. The studio realised that Shamshera was a sunk expense and took the prudent option to avoid the sunk cost fallacy.
The movie is rife with inconsistencies and illogical socioeconomic situations. The biggest shock isn’t that Ranbir Kapoor’s name wasn’t used to advertise the picture. The main shock comes from how carelessly it’s put together. Human societies can’t survive if nothing changes. Either evolution or devolution occurs continuously. After twenty-five years cooped up in a castle, its inhabitants are certain to have developed their own mini-economy. Cruelty is draining and counterproductive to the greater good for the same reasons stated above. Because oppressors are also human, the issue is unlikely to be as simple as a power struggle between dictators and their subjects. Once again, rationality is sidelined in favour of a straightforward story, but that story is visually and aurally exhausting and unpleasant.