Revisiting a definitive- 6

 

Satya was released in the spring of 1998. End of 90's was a interesting period for Hindi cinema and coinciding with it, Satya released. 1998 was also interesting particularly, with Karan Johar introducing himself and his brand of cinema with Kuch Kuch Hota Hai. Both films changed the way how the operating guidelines will work for Hindi cinema in the next few years. Satya, was Ram Gopal Verma's (RGV) 14th film after a slew of them released between 1989 and till 1998. With his first release, Shiva, RGV had already made his mark. The film was considered definitive in technique and a marvel to watch. Indian audience had never seen something like what Shiva was showcasing. Sound, Editing, Photography, Cinematography and camerawork changed the way with Shiva. Backed with some great casting the film quickly gained a cult status. Between Shiva and his next breezy entertainer Rangeela there was a gap of few years. Rangeela opened up the audience to the world of musical. I personally feel, it is perhaps India's only musical (and much later came the critical Jagga Jasoos) which made a mark. And then RGV decided to work on the crime noir Satya with the underworld as the backdrop.

In his several interviews, RGV has claimed that much of the work on Satya happened through ideas he was collecting while at work with his previous films. For instance, in a meeting with a producer, who gets a call about a colleague who has been shot by the mafia. The producer then starts rambling about his dead colleague and his association with him. That piece of idea was later used in the film too. There were numerous such occasions and his interactions with the actual mafia world that helped him conjure a better image. However, the whole genesis comes from the thought that the mafia is usually known to kill people, but what happens between the time when they are not killing and are in their "ME" time. Thus Satya was born. It brought in cult characters like Bhiku Mhatre, Kallu Mama, Pyari Mhatre, Bhau, Inspector Khandilkar and of course the titular character, Satya.

The thought was worked upon and written brilliantly by Saurabh Shukla and Anurag Kashyap. Satya's writing is path breaking in many ways and makes it such a treat to watch. The conversations are amazing with humour and a lot of edginess in the lines. Some of the lines are still etched in people's memory. RGV was already established for his technical finesse and his earlier outings were a marvel. Satya was also in the same lines. A lot of scenes in the film are as they called guerilla shots. Disguised camerawork, particularly some of the chases and the scenes in the slums were shot at actual locations. And that brought in the gritty realism of the underworld.

Satya remains Manoj Bajpayee's iconic work till date. His earnestness in the role and the way he is invested into is brilliant. People talk of many many scenes where he is amazing (including the now proverbial Mumbai ka king kaun?) but to me the scene that strikes the most, where his closest buddy Chander (Snehal Dabi) has been encountered by the police and he is at loss about that to do. There are three things playing on his mind; grief over loss of Chander, angst against the cops and constant argument with Kallu Mama (Saurabh Shukla). It is one of the amazing part of the film amongst the many. 

Saurabh Shukla's Kallu Mama is best remembered for the realty he brought into the role. As the guy running the actual business he is the consigliere (A la Tom Haggen in Godfather, but more rustic) and knows when to tow the line and when not to. In the same scene discussed above, Kallu Mama understands the pain of losing Chander, but then he knows life has to move and business has to as well. The desolate look and the helplessness and the grief and the Move-On attitude all showcases in one single moment.

As Pyari, Shefali Shah is simply awesome and there are no two words. With such expressive eyes, everything she does is simply outstanding. Pity, she had limited screen time but her chemistry with Bhiku and the time when she is on the screen is so so good. 

Everybody in Satya played their part with so much earnestness that it might be wrong to pin point anybody. Casting for the first time was redefined with the kind of people playing their parts just shone. A cameo by Manoj Pahwa as a cattle shed owner is worth the mention. These small nuggets all add up to the final product which changed the way how gangster films were made, much like a before Satya and after Satya scenario. 

The death of Bhiku was never imagined in the way it was shot. Death of character like Bhiku till then was a celebration and with lot of dialogues and revenge best taken kind of moments. Then there are chases and running. Till Satya was released. It was so sudden and in a flash that it just shook up the audience. A lot of Gangs of Wasseypur and later Sacred Games was inspired from this death of Bhiku Mhatre.

Satya will always remain one of RGV's most definitive work inspite of the all muck he keeps producing even now. Alongside, Shiva, Company, Bhoot, Rangeela and Daud (yes! Daud remains a very underrated film), Satya shall remain gilt edged. And it gave Hindi cinema some of the finest actors and writers. 

Satya streams on a few OTT, but do not bother watching it there; try and get a Blue Ray; as it has many uncut scenes and back stories. Go  Buy!