'Thackeray' Movie Review: Nawazuddin Siddiqui is first-rate as Shiv Sena supremo Balasaheb Thackeray

Film: Thackeray (Biopic-Drama)

Cast: Nawazuddin Siddiqui, Amrita Rao

Direction & Screenplay: Abhijit Panse 

Story: Sanjay Raut 

Duration: 2 hours 17 minutes 

Language: Hindi (U/A) 

Critic’s Rating: 3.5/5

Story:

The film traces the rise and rise of the charismatic and controversial Shiv Sena supremo, Balasaheb Thackeray (Nawazuddin Siddiqui), who had the power to bring the Indian administration to its knees.

Review:

Like its protagonist, this film is also a rock star. Director Abhijit Panse, who had earlier directed the Marathi film 'Rege' (2014), keeps the narrative simple in this Bal ‘Tiger’ Thackeray biopic. Panse treats his protagonist like Don Corleone, The Godfather. From the ’60s until his death on November 17, 2012, this is the man everyone in Mumbai sought. You knew if you had Thackeray’s blessings, you could move freely in Maharashtra. Such was his power, charisma and reach.

To establish what a star he was, the film begins by capturing the mob frenzy outside Lucknow airport, where the Shiv Sena supremo was tried for the Babri Masjid controversy. Looking at the media and crowds thronging the place, a curious bystander asks, “Kaun aaya hai? Amitabh Bachchan aaya hai kya?” Nothing could have delivered the message better. For those of us who were born in the ’50s, Thackeray was Mumbai’s biggest superstar. Everyone knew of this person, who rose from the ranks (he was a caricaturist with Free Press Journal) and went on to become the most-powerful man in Maharashtra, at one point, he wielded his clout across India.

Coming back to the film, the director has struck gold here. He has been helped with enough and more material from writer Sanjay Raut who is a staunch Shiv Sainik. And since Balasaheb’s life reads like a bestseller, this movie plays out like a home-grown version of Francis Ford Coppola’s The Godfather (1972).

Starting his own magazine Marmik, he used it as a mouthpiece to be heard. Encouraged at home by his father Prabhodhankar and his quiet but strong wife, Meena (tai) (Amrita Rao), he himself couldn’t have envisioned his reach and power.

The man, who was content painting broad strokes with a brush, realised through this very craft that the Marathi Manoos was getting the short end of the stick in his very own state. As Mumbai was ruled by the moneyed Marwaris, Parsis, the business-savvy Gujaratis and the Shettys, the Maharashtrians were elbowed out. And this is where Thackeray came in.

He decided to be Bombay’s benefactor. He vowed he would get the Marathi man his rights. What started with a simple – “if you can’t get it, seize it,” became a strategic movement. Mumbai’s Robin Hood, who ‘stole’ from the outsiders to give to his own people, became a household phenomenon in Maharashtra. The brush was replaced with a gun, not in his hands but in the hands of who were ready to kill for him and more importantly die for him.

Such was his power that the police, administration, the central government and the common man all became his fans. Interestingly, Bal Keshav Thackeray's life provided a lot of fodder. The bespectacled man, who wore rudraksh around his wrists and drank beer each afternoon, was a paradox. He often made controversial statements. Sample this… “I’m ready to befriend the Muslims. However, if they don’t appreciate it, I’m ready to boot them out also.” Long before, others wore saffron, Maharashtra’s very own tiger had roared, “Hindustan is for the Hindus.”  

No one was able to gauge what his next move would be, so his enemies (many of them who were in the most-powerful positions) could never get the better of him. 

The dialogue of this film by Manoj Yadav and Arvind Jagtap is incendiary. But then a lot of it is taken from Balasaheb’s speeches that were often controversial. A lesser man may have been singed. However, Thackeray had amazing qualities. He could ignite a fight and shortly thereafter, he also provided the equipment to douse those fires.

Cinematographer Sudeep Chatterjee has captured the past as well as the present seamlessly and stylishly. The art department has done a commendable job of recreating a sepia-toned Bombay in the first half. And even the second half brings alive the exact colours, prints and backdrop which were associated with the man. Balasaheb’s animal-printed throne in Matoshree and all the other detailing has been taken into account.

Nawazuddin is first-rate. His petite physical form is quite close to that of the Sena supremo. Without too much ado, he borrows the leader’s mannerisms and his demeanour, convincing you that you are seated in Thackeray’s darbar. Amrita has lesser scope. However, she needs to be complimented for not straying out of character or ever attempting to draw attention to herself.  Looking beautiful, she plays the perfect foil to her famous spouse.

Verdict: Don’t miss Thackeray. It’s like a gym session that gives you a high. You can actually feel the adrenaline pumping, many a time during the film.