Maalik: A Gripping Exploration of Violence in Politics

An Insightful Look at Violence in Maalik

The intensity of violence depicted in filmmaker Pulkit's Maalik may astonish those unfamiliar with his previous work, Bhakshak, which tackled themes of sexual violence.

Maalik delves into the intersection of politics and violence, set against the backdrop of Allahabad, famously associated with Amitabh Bachchan, featuring clever nods to the superstar. A particularly memorable moment is Rajkummar Rao's dry remark following a shooting in a cinema: 'Manoranjan mein hinsa?!'

Pulkit's approach flips the narrative, showcasing entertainment through violence. The film meticulously unravels layers of orchestrated violence in 1990s Uttar Pradesh, long before the state's recent clean-up operations, highlighting a grim reality: the more violence is embraced as a form of protest, the more it risks becoming a destructive force.

Is it politically acceptable to suggest that Pulkit revels in the act of depicting gun violence? Extended sequences in the film focus on the rituals of gunplay, seemingly devoid of remorse for the characters involved.

The film opens with a shocking scene: an overweight, non-compliant officer is dragged into the lair of the criminal protagonist, Maalik, forced to lick his own spit before being ruthlessly executed.

This narrative is not for the faint-hearted. However, the violence in Maalik is not gratuitous like in some other films. The drawn-out shootouts do not convey a sense of enjoyment in violence, unlike Sandeep Vanga's Animal, nor do they heavily emphasize the dynamics of internal conflict during a time when violent encounters were prolonged and steeped in sorrow.

Prosenjit Chatterjee portrays Das, the Bengali encounter officer, but his character appears weak and hindered by bureaucracy and incompetence. This role feels underdeveloped, and Chatterjee may not have been the best fit.

Manushi Chillar, playing the killer's wife, is miscast despite her efforts. Her portrayal lacks the depth needed to express the fears of a woman whose husband is constantly at risk. She pales in comparison to Shefali Shah's performance in Ram Gopal Varma's Satya, although her interactions with Rao shine due to his ability to navigate challenging scenes.

The supporting cast excels, particularly Saurabh Shukla and Swanand Kirkire, who serve as key instigators of chaos. Anshuman Pushkar also delivers a notable performance as Maalik's loyal friend, Badauna.

While Rajkummar Rao commands attention with his performance, Badauna's expressions hint at a character poised to emerge from the shadows.

The film's gripping tension is enhanced by Anuj Rakesh Dhawan's muted, semi-sepia cinematography and Zubin Sheikh's sharp editing, which lend a tragic weight to the relentless action.

Are there flaws? Certainly. The inclusion of Huma Qureshi, attempting a less effective version of Bipasha Basu's iconic Bidi jalaiy le from Omkara, raises questions.

Moreover, the storytelling's brutal tone may be perceived as excessively violent by some viewers. Nevertheless, Pulkit has crafted a captivating narrative that reflects an exploitative social structure favoring the powerful.

While Pulkit does not overly emphasize social inequality, his aim is to deliver a gripping tale that keeps audiences engaged. In this regard, Maalik achieves both intellectual and visceral impact.