Superb, from the boys of Malegaon

Nothing is more heartwarming than aspirational stories of underdogs. Only, Reema Kagti’s cinematic recreation of small-town filmmaker Nasir Shaikh’s life is more than just a tale of a man dreaming the unthinkable, and realising it. As she takes us to Malegaon and right into the heart and soul of these dreamers, it is at one level an ode to friendship, at another about the magic of filmmaking. More importantly, it reimagines how dreams can take flight, not on the wings of hardcore ambition but an emotion far more beautiful and deeper than that.

Though an extended disclaimer does not vouch for the complete veracity of the story, the fact that Nasir is very much alive and part of making of the film as well as the promotions implies that the story is rooted in his reality. Yes, there is a possibility that the narrative could have been buttressed to make his story look even better than what it actually might be. Nevertheless, at no point does it sound exaggerated or artificial. Consistently, it remains an interesting and inspirational tale of Nasir (Adarsh Gourav), who runs a video parlour, and intercuts pirated videos of Charlie Chaplin, Buster Keaton, Jackie Chan and Bruce Lee to create some original mishmash. A police raid sets him on the path of ‘original’ filmmaking.

Cinema, we all believe, is larger than life. Does that mean that people far removed from tinsel town have no role to play in it? What makes Nasir’s journey different from those who enter Bombay with stars in their eyes and make it big, is that he decides to realise his aspirations right in his hometown. As one of his dialogues goes, “Bombay ko idhar laana padega.” No mean feat, indeed. But if necessity is the mother of ingenuity, it can crack the toughest code of wish fulfillment.

The camera is mounted on a cycle, an auto serves as a makeup room and special effects come alive through sheer imagination. With little money, resources or even trained actors, Nasir goes on to create ‘Malegaon Ke Sholay’ with the people of his town and for them. “Idhar ke logon ke liye, idhar ke logon ke saath, Malegaon Ke Sholay.” And unlike the actual dreary process of shooting the film, Kagti gives us a delightful sneak peek into behind-the-scenes of his filmmaking and adds more than a delectable touch. As is her wont, she brings in many nuances as well; simple and subtle.

The importance of writers and writing in cinema is enhanced by the conflict between Nasir and Farogh (Vineet Kumar Singh). Creative differences versus commercial interests are hinted at when Nasir throws in a commercial of a matchbox, much to the chagrin of Farogh. Nods to other films and makers are only a given since Nasir makes several parodies of notable films, including ‘Shaan’.

A documentary, ‘Supermen of Malegaon’, on these dream-makers has already been made and the film does give a shout-out to the documentary director, Faiza Ahmad Khan. Kagti, however, keeps things real and authentic, yet magical. Cinematography by Swapnil S Sonawane enhances her celluloid vision, set in the late 1990s and 2000s.

Dialogues by Varun Grover and Shoaib Zulfi Nazeer are peppered with humour and a few odd ones like “writer baap hota hai” have a bombastic filmi touch, but hit home. So does the film, where the background score by Sachin-Jigar is elevating and casting is on point. BAFTA-nominated lead actor Adarsh Gourav needs no further proof of his acting skills and as Nasir not only leads, but steers the film.

Shashank Arora as the aspiring actor Shafique, Vineet Kumar Singh’s disgruntled writer Farogh — none of them strike any false note. Earnest and emotive, even actors in smaller parts are fleshed out well. If their yearnings ring true, so do their squabbles. Of course, most touching is Nasir and Shafique’s friendship. Like bitter-sweet life, Nasir’s journey is a rollercoaster ride and Shafique, initially the bystander to his friend’s success, too faces the travails of life. But the film’s basic idea is to salute their spirit and uplift ours. All through, it sails on its intrinsic feel-good tenor. Even when tragedy strikes, there is no wallowing in misery and the story written by Kagti and Grover regains its cheery note soon enough. Finally, it soars in its penultimate moments. In the climax, where we see the superman of Malegaon literally fly, Kagti truly captures the magic of cinema.

Superman Shafique’s flight on the screen of this small theatre in Malegaon echoes in the expressions of each actor watching this impossible dream manifest right in front of their eyes. Chances that your eyes will remain dry are remote. Kagti envisions this beautiful dream of simple men, boys if you will, and makes you a participant in their unique odyssey, tugging at your heartstrings. Supermen are born in screenplays and in our hinterland, they take birth in the super(b) vision of men who dare to dream.