yet another version of mother of all gangster flicks the classic godfather and yet another case of over hype due to media circus. sarkar and the 13th hindi film of ram gopal varma as director is also the weakest in his underworld trilogy including the other two being the excellent satya and company. the charisma and the magnetic persona of the two bachchans playing father son duo on screen for the first time is definitely a treat to watch out for. not just strong performances but their perfect chemistry is the biggest scoring point here for which varma should be applauded. however and the same equation of the duo is missing with the other characters in the film. reason the other characters look more like cardboard caricatures esp. the villains represent the typical bollywood baddies. a character who attracts attention is elder son played by kaykay but again not able to hold due to half baked characterization. . the drama and conflict is brought alive by the excessive use of close shots and which brought a claustrophobic effect rightly needed to construct an ambiance. the haunting score (amar mohile) and the sound design (kunal mehta and parikshit lalwani and anup dev) and together with dark and murky background overlapped by shinning powerful images (camerawork by amit roy) contributes to visuals so typical of ramu style. but there is an overuse of music though fortunately no songs are there in the film. but can interest of today intelligently growing audience be sustained just on shoulders of two performers and strong visuals . i do not think so. surely and audience maangey more and here film fails to deliver. in any adaptation and in order to add a new dimension and the biggest pre requisite is the screenplay and which is sluggish here not being crisp at places and and therefore the pace slackens quite often. what finally audience is subjected to is a highly predictable and very commonplace drama with very little surprise elements. top stunt director allan amin ghani is also not in his best form. some scenes which require a different treatment includes a minister is talking foul about sarkar and the son is overhearing while a very amateurish shoot out in the jail on sarkar and sarkar jr. escapes from the clutches of his enemies and a son easily motivated to kill his own father and a son is secretly entering his father room to kill him and a police commissioner slapping sarkar jr all this requires a more realistic and hard hitting approach which is the back bone to create the required conflict. the dialogues are weak for eg. look at an amateurish line where a cm says to sarkar jr. wo jo police commissioner tha na usay maine hata diya. the women folk take on sarkar working is completely ignored. the uninterrupted negotiations about criminal activities while sarkar is with his family also look slightly out of place in fact and the film follows a graph quite similar to ramu own production ab tak chhappan. in depicting the battle between good and evil and the other side of life the law and police and administration and politics is completely ignored. certainly and more is expected in content. here the film definitely falls short and could not rise above an average fare. dear ramu and agreed that now you are laughing your way to the bank and you definitely need to take some drastic overhauling measures in your film production factory and before it is too late. 
yet another version of mother of all gangster flicks the classic godfather and yet another case of over hype due to media circus. sarkar and the 13th hindi film of ram gopal varma as director is also the weakest in his underworld trilogy including the other two being the excellent satya and company. the charisma and the magnetic persona of the two bachchans playing father son duo on screen for the first time is definitely a treat to watch out for. not just strong performances but their perfect chemistry is the biggest scoring point here for which varma should be applauded. however and the same equation of the duo is missing with the other characters in the film. reason the other characters look more like cardboard caricatures esp. the villains represent the typical bollywood baddies. a character who attracts attention is elder son played by kaykay but again not able to hold due to half baked characterization. . the drama and conflict is brought alive by the excessive use of close shots and which brought a claustrophobic effect rightly needed to construct an ambiance. the haunting score (amar mohile) and the sound design (kunal mehta and parikshit lalwani and anup dev) and together with dark and murky background overlapped by shinning powerful images (camerawork by amit roy) contributes to visuals so typical of ramu style. but there is an overuse of music though fortunately no songs are there in the film. but can interest of today intelligently growing audience be sustained just on shoulders of two performers and strong visuals . i do not think so. surely and audience maangey more and here film fails to deliver. in any adaptation and in order to add a new dimension and the biggest pre requisite is the screenplay and which is sluggish here not being crisp at places and and therefore the pace slackens quite often. what finally audience is subjected to is a highly predictable and very commonplace drama with very little surprise elements. top stunt director allan amin ghani is also not in his best form. some scenes which require a different treatment includes a minister is talking foul about sarkar and the son is overhearing while a very amateurish shoot out in the jail on sarkar and sarkar jr. escapes from the clutches of his enemies and a son easily motivated to kill his own father and a son is secretly entering his father room to kill him and a police commissioner slapping sarkar jr all this requires a more realistic and hard hitting approach which is the back bone to create the required conflict. the dialogues are weak for eg. look at an amateurish line where a cm says to sarkar jr. wo jo police commissioner tha na usay maine hata diya. the women folk take on sarkar working is completely ignored. the uninterrupted negotiations about criminal activities while sarkar is with his family also look slightly out of place in fact and the film follows a graph quite similar to ramu own production ab tak chhappan. in depicting the battle between good and evil and the other side of life the law and police and administration and politics is completely ignored. certainly and more is expected in content. here the film definitely falls short and could not rise above an average fare. dear ramu and agreed that now you are laughing your way to the bank and you definitely need to take some drastic overhauling measures in your film production factory and before it is too late. ---------------------------------Answer Question Below----------------------------------

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