A few years back there was an outrage when Ram Gopal Varma attempted a horror — a remake of the classic movie Sholay. As if to atone for that sin, this time RGV massacres his own best film Satya with a horrendous sequel in the form of Satya 2.
All that went right with the original Satya released about a decade and half ago has gone wrong with its sequel. The raw and gritty Satya is replaced by the shady, badly written, half-hearted attempt of a movie, Even if we stop comparing this movie to the original Satya, which was unarguably the best underworld movie in Bollywood, it becomes simply unbearable after a point of time.
The film starts with Makarand Deshpande’s voice over educating you about how underworld never dies, it only changes forms. And then through the film, the voice over talks and talks, even giving you little details about the leading man’s honeymoon destination. Oh, he’s not the only culprit. Almost every character in this film seem to suffer from verbal diarrhoea. I suspect the eligibility for auditioning for this film were two: One, below average looks and two, the ability to scream out inane dialogues non stop for at least five minutes without having to pause for breath. Comma sutra, anyone?
The underdog-turned-deadly criminal Satya (JD Chakravarthy) of the original is replaced by a nondescript new Satya, Puneet Singh Ratn. I am still trying to figure why this particular actor, with zero screen presence, awkward body language and clearly below average talent was chosen for this role.
The Satya of this film, with unkempt hair and flaring nostrils in name of acting talent, is given company by two actresses, Anaika Soti and Aradhana Gupta. While Anaika, with a pout as phoney as it gets, is unwittingly hilarious in her supposedly seductive dance movements (Don’t try them at home please. Alarmed neighbours might call the closest mental institution) and Aradhana, called Special if you please, is uhm… pretty unspecial.
The story is simple. Satya, who has a disturbing back story and a girlfriend — not necessarily in that order — lands up in Mumbai to make it big in the underworld. Soon after, he manages to land a job in a builder’s office and within no time earns his confidence, thanks to his brilliant plans of killing everyone around. Soon Satya starts a company which presumably works on anonymity. No one member knows the other members of the company and supposedly shrewd businessmen invest money in the company even though they clearly have no idea of what the hell is it all about. For all this anonymity and mystery business, everyone seems to know Satya’s mobile number and they call him as often as they please, even when the cops are out there are frantically searching for a clue. Satya continues killing “influential” people, even as Makarand Deshpande’s, irritating by now, voiceover gives you a half-hearted justification of how he’s actually Robin Hood in the making.
Wish Varma had concentrated on the loopholes of the story more than the “realistic” potholes and the likes. Cinematographer Vikas Saraf’s camera seems to be set on a crazy mode. When it is not lurking under the computer keyboards and centre tables, it is going dangerously close to the faces of each and every character and staying there forever. Actually, at one point counting the number of blackheads on Satya’s henchman’s nose seemed far more entertaining than what was happening with Satya. Give this film a miss. Watch the original Satya again if you’re craving for a good underworld film.
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