On the whole, Shanghai is undeniably one of the most politically astute
films ever made. It keeps you involved and concerned right from its
inception to the harrowing culmination. This is not your usual Bollywood
masala film, but a serious motion picture that has a voice, that makes
you think, that makes a stunning impact. A must watch!
He is acknowledged for creating high-quality cinema. Right from KHOSLA
KA GHOSLA to OYE LUCKY! LUCKY OYE! to LOVE SEX AUR DHOKHA, Dibakar
Banerjee's movies have been lapped up by spectators. He typically picks
up avant-garde subject matters and his latest flick SHANGHAI is no
exception. KHOSLA KA GHOSLA, OYE LUCKY! LUCKY OYE! and LOVE SEX AUR
DHOKHA presented diverse stories. Now Dibakar presents the
much-anticipated thriller SHANGHAI, which orbits in the region of
gluttony and deceitfulness of politicians.
Political thrillers are a much abused genre, but it's not frequently
that movies confer us with what SHANGHAI offers: A political thriller
wherein the politics seizes precedence over the thriller element. It's
more of a reality check about where India stands in the present day. In
the context of the film, we have this dream of a Shanghai like city,
where there is commerce, eminence, capital and the material comfort. But
the reality is something else!
Enthused by a book of the 1960s, 'Z', by Greek writer and diplomat
Vassilis Vassilikos, a Costa Gavras film, Z, was also motivated by this
book in 1969. Banerjee detected remarkable similarities between the
Greece in the book and the India of today, procured its rights and
acclimatized the account to a metropolis in India.
A political activist [Prosenjit Chatterjee] meets with an accident in an
Indian city gearing up for elections. A lone girl [Kalki Koechlin]
believes it to be a murder. A porn film maker [Emraan Hashmi] claims to
have proof that will bring the government down. A high-ranking
bureaucrat [Abhay Deol] is brought in by the government to control
damage. The three of them blow the lid off the Indian dream called
SHANGHAI deals with the two sides of the coin: Abhay symbolizes the
scholarly, frontward looking and progressive India, while Emraan is the
ordinary guy who is left behind. In SHANGHAI, Abhay and Emraan depict
the two halves of India which, in many ways, are conflicting against
each other for a larger divide in the cake.
The finest aspect of Dibakar Banerjee's films is that you can't
articulate what he's going to come up with next and how unerringly he's
going to engage you in his creation. All his movies so far have picked
up issues that concern us, but the temperament was so diverse that, if
you weren't aware, you might not have estimated that they were all
helmed by the same director.
SHANGHAI is a political thriller woven around much-battered terms
'expansion' and 'development'. This sort of a deception has ensued
before in various nations/states and it is these types of political
misdemeanors that Dibakar dabbles with in SHANGHAI. SHANGHAI is an
affluent work of art by a master storyteller. Most significantly, it's a
film of our times. It evokes myriad emotions in you. It leaves you