Every time someone calls him a dacoit on the screen, he corrects this by saying he is not one, but a rebel fighting for a cause. The film was about a star award-winning steeplechase runner who, disillusioned with and humiliated by the administration, turns into a rebel, not a dacoit as some others viewed him.
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He was there with his director, Tigmanshu Dhulia, and movie, Paan Singh Tomar. It was at the Abu Dhabi Film Festival in one of its early editions. It was a long time ago that I first met Irrfan. And happily, Irrfan is one of the few who is willing to sink his teeth into a plot and just disappear into a character. A typically under-performing Khan pushes Madaari from frame to frame, from one incident to another in a manner that is so refreshingly different from the loud, exaggerated, grossly theatrical acting that has become an integral part of Indian cinema.Īdmittedly, Indian movies, Bollywood certainly, is trying to give itself a makeover by roping in men and women who are keen on performing rather than on adding points to their stardom.
Madaari 2016 movie#
The movie was about the kidnap and killing of a Wall Street reporter, Daniel Pearl. It is only Irrfan who can carry a film like Madaari - much in the same way he helped an average work like A Mighty Heart (helmed by Michael Winterbottom and starring Angelina Jolie) sparkle.
Madaari 2016 series#
In a series of gripping sequences, Irrfan’s Kumar bundles the home minister and his corrupt, bribe-sucking political cronies as well as bureaucrats inside a small room and has their confessions telecast live on a national channel - watched in awe and admiration by teeming millions. He is the best of the Khans - far, far ahead of Bollywood actors like Salman Khan, Shahrukh Khan, Saif Ali Khan and even Aamir Khan. Reminiscent of the 1989 kidnapping of Rubaiya Sayeed, the grown-up daughter of India’s then Home Minister, Mufti Mohammad Sayeed, (she was later freed in exchange for the release of five imprisoned terrorists belonging to the Jammu Kashmir Liberation Front), Madaari picks such real life incidents to plot a movie whose cinematic appeal lies not as much in great story telling as it does on an exceptionally fine piece of performance by Irrfan. Failing to find any door open to hear his cry, Kumar kidnaps the young son of the ‘federal home minister’ and begins a cat-and-mouse game. Is the administration interested at all in fixing accountability and culpability?Ī shattered and forlorn Nirmal Kumar (Irrfan) finds himself as crushed as his little boy must have been as he lay under those huge steel and concrete girders. Madaari zeroes in precisely on a mishap like this to tell us how a man, a doting, single father and internet repairman, gets mentally shattered after the death of his son - only to subsequently face an inhuman government, more interested in shutting him up with a measly compensation than in trying to get to the bottom of the accident by tracing those guilty of negligence.
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And it will remain a conjecture - the fodder for scandals and hearsay - that substandard material was used and in an unduly hasty manner that severely compromised quality and safety. Though the top brass of the company which was building the flyover was arrested, the truth may never be revealed.
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An under-construction flyover came crashing down in a busy city area killing about 27 people and injuring over 80. The obvious reference here is the March 2016 Kolkata accident.