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Reviews On Political Bollywood Movies

Bollywood is one of those film industries that have advanced immensely in the following years. From retro romantic movies to that of content-driven and real-life incident based movies Bollywood has emerged as one of the most known film industries. One of the genres that have been followed in Bollywood is the movies based on Indian politics and political incidents. There are several Bollywood movies on Indian politics that had left a remarkable mark in the industry. Here are a few Bollywood movies based on Indian politics.

In this project, I will introduce the movies to the audience by describing the plot and personal review. Following that, I'll go into criticism. I'll wrap up the endeavor with a quick personal assessment of the project.

NAYAK: the real hero
Theme and characters analysis
Shivaji Rao Gaekwad is an ambitious television cameraman, working for QTV along with his friend Topi. While on his job, Rao is assigned to record riots triggered by a fight between college students and a bus driver and accidentally records a conversation in which the Chief Minister of Maharashtra Balraj Chauhan takes an indifferent stand, so as not to lose his voter base. In the riots, Shivaji saves the life of one of the college students there, and it is recorded by Topi. Because of his actions, Shivaji is promoted as the senior television presenter.

Meanwhile, due to police inaction, there is loss of life and damage to property. Explaining his actions, Chauhan later agrees to do a live interview with Shivaji, during which Rao raises these issues and broadcasts the conversation he has recorded. In response to Shivaji's allegations about the mismanagement by his government, Balraj redirects the question by saying that his job is not easy. He challenges Shivaji to be the Chief Minister for a day to experience those problems himself. Shivaji reluctantly accepts the challenge.

Assisted by Bansal, Shivaji handles issues that affect the populace every day. He manages appropriate housing and employment for the needy, and he suspends inefficient and corrupt government officials. As the last act of the day, Rao has Chauhan arrested, as the latter is the root cause of all the corruption. Later, Chauhan posts bail and leaves jail, then passes an ordinance to nullify all orders passed by Shivaji. Insulted by Shivaji's success as well, Chauhan sends assassins after him, but they only destroy his house.

Shivaji falls in love with Manjari, a nave, carefree villager whom he met when he was a cameraman. He asks her father to marry her, but her father refuses on grounds that Shivaji is not employed by the government. As a result, Shivaji begins preparing for the Civil Services Examination. However, Bansal arrives and informs Rao that Shivaji's popularity has skyrocketed and that people want him to become the next Chief Minister. He is reluctant at first, but when Chauhan's henchmen vandalise QTV premises to intimidate him, and the people show their support by thronging to his place in huge numbers, he agrees to do so.

In the ensuing state elections, Shivaji wins by a vast majority. Chauhan's political allies desert him, causing his defeat. Manjari's father, angered by Shivaji's decision because he believes that it will make Chauhan careless of Manjari, refuses to let his daughter marry him. On becoming the Chief Minister, Shivaji effects many improvements and quickly becomes an idol in the people's eyes. However, his growing popularity is threatened continuously by Chauhan who uses his henchmen to try to kill him or tarnish his image as a public hero. After a failed attempt on Shivaji's life by hiring an assassin, a bomb is detonated at his home, killing his parents.

In a final attempt, Chauhan orders Pandurang to cause bomb explosions in various parts of the city. Accidentally, a priest hears that a few men are planning to detonate bombs and notifies Shivaji's office via the "complaint box", which was created by Shivaji to collect letters from the public about their complaints. Pandurang is arrested and, under tactical inquiry by Shivaji and his secretary, discloses the location of the four bombs. A squad is able to defuse three bombs, but the fourth explodes�without injuring anyone before they could reach it.

Chauhan uses this success against Shivaji by blaming him for the bomb. Seeing no way out, Shivaji summons Chauhan to the secretariat and creates a situation such that it would seem as if Chauhan was there to shoot Shivaji but failed. To do so, Shivaji takes up a gun, points it to his arm, shoots himself on purpose, and then hands over the gun to Chauhan. The enraged Chauhan attempts to shoot Shivaji, but his shot misses. The security guards shoot down Chauhan and kill him. Apart from that, Manjari's father also comes to realise that Shivaji is a great man who sees duty before everything else and allows Manjari to marry him. The film ends with the state developing under the governance of Shivaji.

Very rarely it happens that you come across a film which is brave in terms of content. If you haven't seen one yet, Shankar's Nayak is one of them. Although I haven't seen the original film Mudhalvan yet, I can still say that Director Shankar's film has managed to hit the right notes, and that too at the right time.

Right from the beginning, you realize that a heavily intense drama would follow you till the end. It's true. The best thing is that the producers have left no stone unturned to make this film look at par with mega budget movies. The action scenes are perhaps the best ones ever seen in an Anil Kapoor film. Happy to see good special effects and excellent cinematography.

Coming to the story, there's no doubt that it's the real 'Nayak' of the film. The story doesn't give you even a chance to blink, and whatever happens is true to life. Not even a single scene gives you the feel as if you are watching a wrong Movie. Anil Kapoor is in his original form. Rest others have done their respective parts well.

However, the only thing that one may not like at all would be the excess number of songs, and that too placed at the time when the film gets serious. But, since they are pleasant, one wouldn't mind watching the songs as well.

On the whole, if you are a true Cinema lover, who can watch the film without thinking how much better it could have been, go for Nayak. You will surely love it. This film is a blockbuster indeed!

Critics gave mixed reviews to Nayak, praising the performances of Kapoor and Puri from the first-half but panning the special effects, which they attributed to the film's commercial failure.'s Sarita Tanwar wrote, "A fairly interesting plot, a commendable performance from the leading artiste, lavish production values and terrific pieces of action, Nayak: The Real Hero has all the ingredients that make a commercially viable film.

"Taran Adarsh from the entertainment portal Bollywood Hungama gave the film one star, calling its second-half "weak". However, he took note of the "superb" dialogue of the film, mostly that are said by Paresh Rawal's character, while deemed Johnny Lever's comedic scenes were "flat".

Moreover, Adarsh said that Mukerji was given with a role that did not give her screen time to talk and Pooja Batra's role was better than hers.[30] Saibal Chatterjee of the Hindustan Times, giving the same rating, described the film as "a patchwork that's neither pretty nor useful".[31] Ziya Us Salam claimed that Kapoor portrayed his part with "easy professionalism".[32]

The critic and trade analyst Komal Nahta opined that it did not "have enough entertainment value", suggesting that the film's lengthy duration could be cut for ten minutes. Kapoor's performance got appreciation from Nahta, who thought he was "splendid", otherwise Nahta hoped that Shankar's direction "could have been much better. His inept handling becomes conspicuous as unrealistic and unbelievable things happen in this serious issue-based drama."[33]

Writing for NDTV, Parul Batra saw that Mukerji was wasted in her brief role although applauding her costumes. He agreed with Nahta about the duration problem, saying that it left him "disappointed".[34] Dinesh Raheja felt that the "spirited" performance of Kapoor was the highlight of the film,[35] and Devesh Sharma, in a review carried by Screen, observed of him, "Anil Kapoor once again proves his brilliance as an actor with this movie [...] he verily gets under the skin of his character and executes a faultless performance. His frustrations, his angst and his heart-rendering lamentations on seeing his parents blown away find answering echoes in the heart of every cinegoer."

Gulaab Gang
Theme and characters analysis
The Gulaab Gang members are activists and vigilantes in Bundelkhand Uttar and Madhya Pradesh.[6] They wear pink sarees and take up issues like domestic violence, the dowry system, rape, electricity matters, and education. Their fierce leader, Rajjo (Madhuri Dixit), locks horns with a conniving and shrewd politician, Sumitra Bagrecha (Juhi Chawla), who uses people.Rajjo runs a Gulaab gang in the village of Madhopur, where she teaches little girls their alphabet and grown-up girls how to wield a lathi.

Her gang is made up of women who wear bright pink. Rajjo's closest friends in the gang are a tomboy (Divya Jagdale), a woman abandoned by her husband (Tannishtha Chatterjee), and a kohl-eyed woman (Priyanka Bose). These ladies go about standing up for the meek and the downtrodden and clash against villainous husbands, cops and politicians.

The plot gains momentum when Rajjo decides to take part in the local elections against Sumitra Devi. Sumitra does her best to make sure Rajjo is incapacitated during election campaigns by having most of her gang members killed by the henchmen. Towards the end, Rajjo decides to take revenge against Sumitra.

During Holi celebrations, when Sumitra conspires to finish off the Gulaab Gang, Rajjo retaliates by chopping off Sumitra Devi's hand as the latter tries to shoot the gang with a machine gun. In the end, Sumitra is arrested and is sentenced to life in prison and Rajjo is also arrested for her violent retribution. However, Rajjo eventually realises her dream of establishing a school for unprivileged girls.

"Gulaab Gang" is a film advocating education for girls and autonomy for women, made by a first-time director who faced enormous obstacles in getting it made. That thumbnail version makes it almost impossible to root against the film, although some of Soumik Sen's obstacles were of his own creation.

His claims that the film is fiction and that any resemblance to real people is coincidental strain credibility to the breaking point, as the pink saris worn by the title gang are the very ones worn by the real-life Gulabi Gang, whose name Sen didn't even bother to change, and upon whose founder Sen's protagonist is heavily based.

This led to legal disputes that threatened to delay release of the movie. All of this is meant not to reignite the debates about poetic license in fictional films drawn from real life, but to make the point that "Gulaab Gang" is a movie whose director needs to get out of its way. Which is a wildly delicious bit of irony, considering that it's about women taking charge of their own lives, and that Sen is a man.

Straight on, Gulaab Gang's deepest colour comes from its villain, Madam ji, a politician of supreme ambition and total crassness, played with aplomb by Juhi ChawlaThe gang, led by Rajjo's merry women including Mahi (Jagdale) and Kajri (Chatterjee), succeeds by winning hearts or breaking bones. But does Rajjo meet her match in unforgiving Madam ji?Gulaab Gang captures the deep oppression the vulnerable face. Some moments - Rajjo's face falling when Madam ji, presented with a rape charge against neta Pavanji's lout son, responds, "Aaj kal balatkaar ka kya rate hai?" - are memorable.

The action is crackling and Madhuri looks great, going from dhak-dhak to thak-thak with a big stick. Alongside, Juhi shines with malicious pleasure as Sumitra Madam ji whose ambition - to become raja from patrani - is ferocious. Chawla makes you cringe as she wreaks revenge on anyone who crosses her, the actor getting into her role with lip-licking gusto.

Days before the movie's release, Sampat Pal Devi, the leader of the original Gulabi Gang, filed a case against the makers of movie, as she felt the filmmakers had no right to make a film on her life without her permission. On 5 March 2014, the Delhi High Court passed a stay order against the release of the film throughout India stating that the release would cause irreparable loss to Pal's reputation and that "the loss of reputation can not be compensated by monetary terms".The high court lifted the stay one day later

Sivaji: the Boss
Theme and characters analysis
Sivaji Arumugam is a rich Indian software architect, who returns to India after working for 10 years in the United States. He aims to establish a non-profit trust called Sivaji Foundation, which is to include a network of quality hospitals and educational institutions that serve the poor free of charge.

A highly influential political leader and industrialist, Adiseshan, sees Sivaji as his deadly competitor because he runs profit-making educational institutions and hospitals. In the process of establishing the Sivaji Foundation, Sivaji is forced to pay bribes to several government officials and ministers to get basic approvals and sanctions done, and eventually, he is forced to mortgage his property and sell his belongings when the bribes demanded become very high.

Sivaji is dragged by the State Government (under political influence of Adiseshan) to court when he starts sabotaging the Sivaji Foundation through his political influence, but at the court, he is forced to admit that he paid numerous bribes. The judge declares the verdict in favour of Adiseshan and shuts down Sivaji Foundation. Meanwhile, Sivaji falls in love with Tamizhselvi, a demure and traditional girl.

Initially, Tamizhselvi and her family are scared of Sivaji's advances, but Sivaji soon manages to win Tamizhselvi's heart and her family's approval. However, when an astrologer checks Sivaji's and Tamizhselvi's horoscopes, he warns that their engagement will result in heavy financial ruin and further, their union will result in Sivaji's death. Tamizhselvi initially refuses the proposal due to her concern for Sivaji, but he calms her fears and convinces her to marry him. Sivaji, reduced to utter poverty, decides to play the game his own way.

With the help of his uncle Arivu, he acquires evidence of ₹2 billion worth of illegal earnings in Adiseshan's possession and uses the documents to blackmail Adiseshan into giving him half the money. Adhiseshan traps Sivaji with 50 goons, but Sivaji trashes them and leaves with both money and documents. Using the amount, he further obtains details on people who have illegal earnings across Tamil Nadu and blackmails them to give him half of their illegal wealth. He then transfers the money to New York, where he gives it to the bank accounts of his friends around the world by hawala forgery.

They then deposit the money as donations to the Sivaji Foundation, making the money usable and legitimate.Sivaji informs the Income Tax Investigation and Vigilance Department about the details of the illegal money held by the tax evaders (including Adiseshan) and gets them arrested on the same day. He blackmails the minister and legally reopens the foundation and soon is able to provide free, good quality education, infrastructure, services and employment to people in every district of Tamil Nadu. Led by Adiseshan, those who were blackmailed by Sivaji exploit Tamizhselvi's innocence to silence him.

Fearing for Sivaji's life, she hands over Sivaji's laptop to the CBI and Income Tax officers hired by Adiseshan with all the information regarding the illegal money transactions. With presentable evidence, Sivaji is arrested. Adiseshan and the police order Sivaji to unlock his laptop through the voice-detection program, which only opens on a particular command in Sivaji's voice. Sivaji's friend Dr Chezhian, Tamizhselvi and Arivu intercept the police van after being informed by Sivaji through a MMS and replace Sivaji's body with a dummy before the mercenaries open fire. While everyone thinks that Sivaji is dead, Chezhian revives him using a defibrillator.

Following Sivaji's "death", Adiseshan and the CBI still try to open Sivaji's laptop by trying to fool the voice-detection program; they fail and all the data in the laptop is erased. A few days later, while everyone wonders about the future of the Sivaji Foundation, the revived Sivaji returns to take control of the foundation in the guise of an NRI friend, M. G. Ravichandran (MGR).

Though Adiseshan immediately realises that Ravichandran is actually Sivaji, he is unable to prove this to the police due to the proof of Sivaji's "death" and Ravichandran's identity. Later, Sivaji confronts Adiseshan and the two fight atop the terrace of Adiseshan's medical college. During the fight, Adiseshan inadvertently strikes the campus's terrace roof causing money hidden in it to fly around the campus. The students spot the money and go after it, causing a stampede in which Adiseshan is trampled to death. Sivaji Foundation soon becomes a frontier for India's economic and industrial rise.

The Boss is all about numbers. It narrates the story of an NRI do-gooder Sivaji (Rajnikant) who wants to spend around Rs 2 billion to set up a number of free educational and medical institutions in his hometown.

Sivaji, a successful computer wizard, comes to his hometown from the US to share his wealth with the poor and needy. But very soon her realises that things aren't as easy as he thought and he becomes a victim of a corrupt system. He is harassed by a dhoti-clad politician Adisheshan (Suman), in myriad ways. A corrupt bureaucrat assists the politician in exploiting Sivaji.

They suck up all his money and leave him to suffer. How Sivaji turns the tables with the help of his uncle leads to the climax of the movie.

As far creativity and novelty is concerned, it is obvious that director Shankar did not try to be different as Sivaji turns out to be a rehash of all his previous jingoistic claptrap efforts.

Shankar has packed enough gimmicks in the movie to keep his catcalling front-benchers happy. Rajnikant's garish costumes and wigs look outlandish. It seems they have been designed to make him look adequately youthful for 25-year-old Shriya.

Age seems to have caught up with Suman too and he grimaces in the appropriate sequences. Vivek, who plays Ranjnikant's uncle, is the surprise scene-stealer.

Sujata's dialogues, KV Anand's camera work, Thotta Tharani's massive sets and AR Rahman's music live up to the expectations.

All in all, Sivaji is a complete masala fare riding on the shoulders of Rajnikant, who undoubtedly remains the USP and the biggest attraction of the film. Enough to keep the cash registers jingling!

Malathi Rangarajan of The Hindu, in a review about the story, said that the lead character carrying out a rebellion against corruption was something "not be true to life". She concluded by saying that "the story sags towards the end". She, however, appreciated the performances of the prominent actors, the soundtrack, art direction, photography and the animation.[132] Ananth Krishnan, another review from The Hindu, a month after the film's release, said that the film "... presents an effective diagnosis of entrenched corruption but the rather disturbing remedy it offers is, good old vigilantism."

It concluded by saying that, though the film did well at the box-office, the message of rejecting the corrupt system instead of reforming it was troubling. T. S. V. Hari of Hindustan Times said that the director, Shankar, was not creative enough for the film and added this by saying "Sivaji turns out to be a rehash of all his previous jingoistic claptrap efforts". It appreciated the other technical departments and suggested a good response at the box office.[134] The Times of India had a similar review about the story saying that "it had nothing new to offer" but promised it to be entertaining and gave it four stars.[135]

R G Vijayasarathy of summed the film by saying, "No logic, only Rajni's magic". About the story, he said, "Unfortunately, (the) message is lost in the maze of illogical and sometimes absurd sequences". The review, however, praised the performances of Rajinikanth, Shriya and Vivek and the technical crew.[136] Sify wrote: "There is only one hero here, [..] - Rajni himself. Such is the overpowering screen presence of his cinematic charisma in every frame of the film.

The film works big time as Shankar has made the film on a grand scale, [..] which is a visual treat with superbly choreographed action scenes. All this comes with top-of-the-line techno-finesse, perhaps the best ever in Tamil cinema" and also wrote that "Technically, [..] a revelation [..] there are stunning visuals, which is paisa vasool. K.V.Anand's cinematography is top class. Art director Thotta Tharani work is enticing, especially the sets in songs"


Shankar's Nayak is brave in terms of content which is very rare these days . Although I haven't seen the original film Mudhalvan yet, I can still say that Director Shankar's film has managed to hit the right notes, and that too at the right time. Right from the beginning, you realize that a heavily intense drama would follow you till the end. It's true. The best thing is that the producers have left no stone unturned to make this film look at par with mega budget movies. The action scenes are perhaps the best ones ever seen in an Anil Kapoor film. Happy to see good special effects and excellent cinematography.

Coming to the story, there's no doubt that it's the real 'Nayak' of the film. The story doesn't give you even a chance to blink, and whatever happens is true to life. Not even a single scene gives you the feel as if you are watching a wrong Movie. Anil Kapoor is in his original form. Rest others have done their respective parts well.However, the only thing that one may not like at all would be the excess number of songs, and that too placed at the time when the film gets serious.

But, since they are pleasant, one wouldn't mind watching the songs as well.On the whole, if you are a true Cinema lover, who can watch the film without thinking how much better it could have been, go for Nayak. You will surely love it. This film is a blockbuster indeed!Tone, Script & Story: The movie is how a press reporter is challenged to be a C.M for one day and continues to be in the long run as well.

The tone of corrupt by many official's as well as being an ideal social servant by other few official's is portrayed well. The script is tight and it keeps you in your seat till end.It is sad how on thebasis of factors like caste, category and formed groups, formulate such violence. People belonging to such faction possess low I.Q and thus formulate violence even without knowing whole truth. It's a shame, that they can't act wisely.

Direction, Screenplay, Cinematography: Direction of S. Shankar is good. Screenplay and cinematography is good as well, except for the part where I dint like animated serpents. Music: Music is good too. Acting: Acting from all leads is good as well.Final Verdict: Well addressed thriller on being a true social servant. Worth adding to your collection. Although not as good as the tamil version, as a standalone it is a breakthrough movie in Bollywood.

It is the first and only movie of Shankara in Bollywood , and not dubbed version but original remake. Again Shankar has done what he had always done in Tamil industry movies, that is to awe the audience with top class cinematography, story, dialogues and sets and music and to bring his style to Bollywood.

Ideally, filmmakers would be able to make films about genders not their own without there being any issues, and without reading the credits this isn't necessarily something that would occur to people watching the movie, but at this particular point in the development of both society and cinema it would be nice if a film like "Gulaab Gang" were made by a woman, as were the two previous films about the Gulabi Gang.

Movies like NAYAK, GULAB GANG and SHIVAJI THE BOSS are reflection of our society the only difference is everything gets sorted at the end of movie while it's not the case in the real world thus the question arises does these movies gives a false sense of hope ,"yes" and does this mean we should not make movies on real life problems ,"absolutely not" movies like NAYAK are necessary as it teaches to question the government , GULAB GANG gives women courage to stand for their rights and SHIVAJI THE BOSS shows that common an if motivated can bring change to society. These movies may not be perfect when it comes to screenplay, realism , VFX etc but they definitely deserve appraise for the intention behind the movie .


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