Raajneeti and The Mahabharata
I have never liked Ranbir Kapoor or Katrina Kaif. So, it was with some trepidation that I decided to watch Raajneeti. It was recommended both by friends and family and one gentleman even mentioned that one of the characters reminded him of me. The film also happened to be about one of the subjects dearest to my heart: Indian politics. I also had the distinct feeling that it might not be crap. So, on the last day of my trip to India, I went along to see it.
The first thing I must mention about the film is that it borrows liberally from The Mahabharata. Nay, it’s based on it. What better inspiration could there be for a tale about Indian family politics? It was a pleasure to be able to identify and compare Raajneeti’s characters with their mythological antecedents. Some scenes from the epic are even unselfconsciously reproduced in the film. Perhaps the most memorable one is near the end where Nana Patekar, assuming the role of 21st Century political Krishna prevails upon Arjun (Ranbir Kapoor) to put aside any pretensions to honour and family ties and satisfy the requirements of political morality.
This is a theme that runs through the entire film. The idea that politics and statecraft is a plane upon itself and therefore mandates its own set of rules and morality. In this sense, it is reminiscent of Machiavelli.
(As an aside, I should point out that Nana Patekar’s character, Brij Gopal comes across as an amalgam of Shakuni and Krishna – which, needless to say, is a stimulating combination)
I was instinctively drawn to Ajay Devgan’s character (Suraj Kumar) who is unambiguously based on Karan from The Mahabharata. There seems to be an aura of badassery that permeates his character. Suraj, just as Karan in The Mahabharata embodies a will to power, a clear talent and of course an inevitable pathos. Just like his mythological antecedent, he remains loyal to Duryodhana till the very end.
Manoj Bajpai is the actor tasked with playing Duryodhana doppelganger in the film. And I must say that Bajpai is grossly under-utilised. He is forced to play quite a pathetic, unidimensional character and none of his versatility is on show. I have always felt that Manoj Bajpai got a raw deal from the Hindi film industry. He has all the potential to be a an unconventional leading man (better than Ranbir Kapoor at any rate). If somebody of similar stock like Irfan Khan is allowed his time in the sun, surely there’s space for Manoj Bajpai.
On an aesthetic note, I really must applaud the high production values of 21st Century Hindi Cinema. The wardrobe, props and locations were flawless. The dialogue was careful to utilise political Hindi, which was a nice touch. In many ways, Hindi cinema has come of age. The film industry has started making what I suppose can be loosely termed as ‘social interest’ films. More importantly, Bollywood betrays a sense of confidence and brashness that is infectious.
Having said that, Raajneeti is not free from the usual idiosyncrasies of Hindi cinema. There is of course the exotic love interest and the badly done, obligatory sex and kissing scenes that no Hindi film seems to be able to do without these days. Still, these are forgivable flaws.
In any case, I would like to end by making two observations:
1) I’ve always felt that the moral imperative in The Mahabharata lay with Karan. It is him that I am drawn to and it is him that I have empathy with. It is he who should win and it is he who deserves the gaddi. In this fashion, both The Mahabharata and Raajneeti end unsatisfactorily for me.
2) Raajneeti was only released by the Censor Board after the removal of a few scenes from the film. I imagine these scenes were deemed offensive to the sensibilities of the Gandhi family. I would love to find out what they were.




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