Saala Khadoos dutifully follows all the well-known conventions of the type. So yes, we have the underprivileged underdog, we have the cranky coach looking for personal redemption through her, we have a corrupt sports administration, we have… You get the picture. But what makes a great film in this genre is its treatment as the events unfolding on screen are normally predictable. Saala Khadoos fails on this count. The film meticulously ticks all the plot points but gets lost in clumsy and obvious, melodramatic storytelling that relentlessly milks every cliche of the genre. A knock-out by director Sudha Kondara it ain’t. Not by a long stretch as the weak screenplay has its share of issues. The central romantic track of the coach and his protege, for instance, is far from convincing, as are their emotional graphs. The villainous track of Zakir Hussain and its final resolution (horribly filmi) is the weakest angle of the narrative leaving even a fine actor like Hussain struggling with the material and his caricaturish character. The build up to the World Championship and Madhi’s path to the final is all too conveniently hurried and even the turnaround in the final bout does little more than reinforce just how bad our typical mainstream tropes can be.
The film does get some points, however, as the genre inherently does give you heartwarming moments and Saala Khadoos too does manage to give you some on and off. And that is largely due to its leading lady, boxer Ritika Singh. True, she is no actress and some of the rough edges show up rather more than the makers might have liked but her earnest effort coupled with her coming electrifyingly alive in the boxing sequences help raise the film a notch. She is the life of the film and leads you to wonder why the film is named after Madhavan’s character. Was it a doubt in marketing it as a heroine dominated film? Or simply the star syndrome? Talking of which, Madhavan’s performance is a let down. It’s always the star we see and never the actor. Remember Chak De! India (2007) had its star giving preference to the actor within him and we know how well that worked! Mumtaz Sorcar does well as Madhi’s elder sister Lux and theirs is, in fact, one of the better worked out tracks in the film. Nasser shows just how much a seasoned actor can lift a film.
Last Edit: Jan 29, 2016 17:43:16 GMT by Prem Rogue
Sudha [Kongara] doesn’t want to make “world cinema.” She doesn’t want to make alphabet-soup cinema either, pandering to A, B, C centres. What she’s made is something rarer – a Rocky (or maybe we should say Creed, in this Oscar season) kind of heart-warmer where a predictable narrative is polished up by… cutting the crap. The situations are fresh, funny. There’s not a moment that doesn’t belong, that doesn’t rise from what came earlier, that doesn’t slip into what comes later. “Dignity” isn’t a word we use very often with our commercial cinema, but this film has that quality. A situation involving something as sensational as oral sex is depicted through a bruised lip. Whatever was used to create that bruise is the only kind of makeup in this movie, which is similarly free of artifice.
dancelover: Finished Madhu, thru the film he is working on today!
Mar 18, 2019 18:52:18 GMT
dancelover: Now working Madhu's lists
Jan 14, 2019 20:33:12 GMT
dancelover: Finished lists for Devika.
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dancelover: beginning Devika, the Telugu-Tamil star.
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dancelover: Now finished using a new website about Sivaji Ganesan to revise my jodi-lists for him.
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dancelover: I now have 5 of the 6, but The Kapoors is missing pages 327 through 350.
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