Panga: The Comeback!

It is hard to put the recently released film "Panga" in the frame of a particular genre. Is it a slice of life film, or a sports drama, or a family entertainer, or something else? Perhaps a bit of all of these. The story is about a person following his/her passion. That the person happens to be a woman, and the passion happens to be kabaddi is incidental.

Well, our leading lady Jaya Nigam is a happily married woman with a loving husband and a smart 7-year-old son. She has a cosy home, and her life is centred around her husband, her son, and her job as a ticket seller at the railway booking window. She had been a promising kabaddi player with trophies and national/international recognition to her credit, but she quit her game after marriage and motherhood. Sounds familiar? So many of married women can identify with her, having left some such thing behind after matrimony.

Unlike many who left their passion behind for good, Jaya decides to get back into the game. Finding her physical form, and overcoming her guilt for neglecting her household duties as a wife and a mother are her biggest obstacles. Everything else is picture perfect: a very supportive and understanding husband, an encouraging son (too mature to be 7?), a good coach who happens to be a dear friend, co-operating colleagues, helpful neighbours and what not. She could have had parents or in-laws who were ill and needed her help, she could have faced discrimination at work for being a woman, or she could have had a husband who was not so caring. But no, none of that. She is free as a bird to leave her nest and find ways to realise her dreams.

Even then, there are difficulties, ups and downs and emotional conflicts. Kangana Ranaut has played her part with sensitivity and energy. She switches between a vulnerable mother and wife, and an ambitious sportswoman with ease. The story is set in Bhopal and it is refreshing to see unexplored locales. Jassi Gill as the husband, Richa Chadda as Jaya's friend and coach, Yagya Bhasin as the son have all done very well. Richa Chadda is particularly impressive as the spunky single woman who has stayed away from marriage for her sport. Neena Gupta as Jaya's mother has nothing much to do. She manages to stay on the outlines with a character that has not been crafted well, having no chemistry with Kangana Ranaut as a mother would have with her daughter. To have someone of her calibre for this role is a complete waste.

Director Ashwiny Iyer Tiwari has tried and succeeded to a large extent in capturing the life of a young couple in present times, complete with their struggles and their challenges. Her offering has most of the ingredients to make it a wholesome dish, but perhaps somewhere along the way, a bit of tang could have helped? That would have elevated the film to a whole new level, although it is clean, honest and good now.

Watching Tanhaji: The Unsung Warrior

We have heard the story of Tanhaji (I would have spelt it as Tanaaji, but the recent film showcasing the valour of this 17th-century hero calls him Tanhaji, so I will go with that version since this is all about the film) from our mothers and grandmothers in our childhood. The story formed a part of the saga of Chhatrapati Shivaji Maharaj, the super hero who had the vision to dream of Swarajya, and who fought relentlessly throughout his life to realise it.

In Tanhaji: The Unsung Warrior (TTUW), the focus is obviously on this brave military leader, while the Chhatrapati makes a dignified appearance on the sidelines. The film opens with all kinds of disclaimers that are the norm today. The story has been dramatised, and creative liberties taken to enhance its appeal. Here's how the story goes. Tanhaji offers his services in leading the operation to reclaim Kondhana fort, which the Chhatarpati had lost to the Mughals in a peace treaty. His son's wedding can wait, aadhi lagna kondhanyache (let's get Kondhana married first); declares Tanhaji, and embarks on his mission. Scaling the heights of Kondhana is no mean feat. Especially when the fight is against the mighty and menacing Udaybhan Singh Rathore, who is defending the fort on behalf of Emperor Aurangzeb. The Mughal ruler had plans to make the strategic fort the centre of his operations in the South. After a fierce battle, Tanhaji wins the fort for his master but loses his life, eliciting the famous line from the Chhatrapati, gad aala pan sinha gela (we got the fort, but lost the lion). Eventually, Kondhana came to be known as Sinhagad.

Ajay Devgn plays the protagonist convincingly. Action is his forte and he delivers superbly. He is brawn, and brain too. His devotion to the Chhatrapati, and love for his family show his sensitive side. Kajol has a small, supporting role as Savitri, Tanhaji's wife.

Saif Ali Khan portrays the colourful and eccentric Udaybhan to the hilt. He gorges on crocodile meat roasted on a skewer, has no qualms about pushing a guard off the parapet of the fort into the depths of wilderness as a punishment for minor non-conformance, and dances like a madman anticipating a union with his childhood sweetheart Kamal.

Both of them are veteran actors, and that they did well is no surprise. The real surprise package comes in the form of Sharad Kelkar who essays the role of Chhatrapati Shivaji Maharaj. It is not easy to bring to life a legendary personality like him, but the actor has done it in a nuanced way, lending a lot of grace and character to his portrayal. It was so easy to get carried away and overdo his part, but full credit to him and to director Om Raut for not crossing the line.

I watched the film in a hall, in 3D format. While the closeup shots looked good, the long shots looked terrible, reducing the humans and animals to miniature characters. It was pathetic to see a majestic army appear as a toy army with baby elephants and pocket-sized soldiers. While the film switched the long shots and closeups effortlessly, it was a strain to get used to the changing proportions. Also, the lighting did not seem to be appropriate, making the visuals look dull in many shots. I wonder how these lapses occurred in the age of technical excellence. Although the use of computer generated graphics in this genre of films is a given these days, I felt it has taken something away from the production, lending it a bit of artificiality.

However, when the subject matter is strong, making a film which lives up to its demands is challenging for a filmmaker; and the film has done well on this count. It is inspiring, engaging and entertaining all at the same time!