I very much liked the two Sarkars before this—the first (2005) was a better film, the second (2008) had a better script. What I find fascinating about this one is that it’s been over a decade and some, and Amitabh Bachchan genuinely appears frozen in time through it all (God bless)—looking just as quietly determined on screen, sombre, thoughtful, loud, reactive, but at no moment, bored or disinterested.
If there’s one lesson to learn from Sarkar, and yes, there is little difference between Sarkar, and Big B (the character is inconceivable without the actor), it is the immeasurable zest for life, ambition, and politics that the character Subhash Nagre embodies, despite having been there, done that, several times over.
Maybe the profession—politics, like entertainment—has much do with this. People who are active in both, you’ll notice, age much better. And while there’s politics at some level in every home or work-place, this film deals more directly with politics inside a fortress/palace, or the Nagre family, as it were. Which is loosely modeled on Shiv Sena’s Thackeray family in Mumbai. Where the patriarch is still alive, having lost pretty much everyone else, through death or deceit. Ronit Roy plays Sarkar’s consigliore. He is on infinite brood-mode. Like everyone else in this semi sepia tone picture.
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