The actors are a thrill in this bandit story
In Sonchiriya, a policeman and a young boy discuss Hindi cinema’s lack of accuracy in portraying dacoits. “Imagine,” says the boy sitting outside a rundown little theatre, “this film shows them on horses!” The idea is laughable to them, even though our cinema, drunk on Westerns, persisted with anachronistic equine imagery throughout — particularly in the ’60s and ’70s, when daku movies ruled the roost.
Set in 1975, Sonchiriya tells of rebels and ravines in the Chambal, but without the usual trappings.
All is hardcore, from language (Bundelkhandi, which necessitates subtitles) to laughter. The one time a dacoit throws back his head to laugh is nothing like Gabbar Singh of Sholay; the laughter here comes from devastation and heartbreak.
The one laughing is the optimistically named Vakil Singh, played by a phenomenal Ranvir Shorey, throwing his head back to confront the futility of his life and struggle. The word ‘baaghi’ is best translated as ‘rebel’ instead of ‘dacoit’ or ‘bandit,’ but what is their cause? A character asks, in as many words: “If the dharma of the policeman is to catch the rebel, what is the dharma of the rebel?”
The question is loaded, and while the film does provide answers to ponder, it doesn’t engage with them philosophically.
Shot breathtakingly by Anuj Rakesh Dhawan, this may be Chaubey’s best crafted film, but feels superficial, and is needlessly heavyhanded by way of metaphor.
The story is simple, about many outlaws on the run. The actors are a thrill. Shorey aces it, as does Sushant Singh Rajput, playing a man called Lakhna — a name that may automatically damn the wearer to banditry. He’s uncompromising and dutybound, even if his idea of duty can change on the fly. Manoj Bajpai is excellent as a rebel chief, holding up a wedding with the practised ease of a professional breaking out his routine.
A round of applause for Ashutosh Rana, as the brutal cop chasing down the brigands. Rana, a fine actor, has been reappearing in our cinema more often — Mulk, Dhadak, Simmba. It’s great to have him back in the mix, an actor who makes small parts feel vital. May we call this the Rana-issance?
Sonchiriya claims to be about a band of outlaws in wild search of a golden bird — but that bird may just be a goose. The film skims topics of caste, gender, religion and politics, and proves to be a film about the all-consuming desire to believe in something. Even birds of prey need to pray.