‘Maalik’ review: Rajkummar Rao commands, but everything else fails to follow

Crime thrillers are nothing new to actor Rajkummar Rao. Although he seems to be typecast into more comical small-town roles recently, he has left his mark in the thriller genre with movies like Shahid, Omerta, and HIT: The First Case. With Maalik, Rajkummar Rao shines through with explosive energy, although the same cannot be said about the movie. The movie also marks the return of beloved Bengali actor Prosenjit Chatterjee to Hindi movies, donning the role of the primary antagonist.

Set in Allahabad (now Prayagraj) during the late 80s and early 90s, Maalik is a story of a man who aims to decide his fate, make a name for himself, and take what he wants. Rao stars as Deepak a.k.a. Maalik Dadda, a criminal who runs a formidable gang in the city with his best friend Badauna (Anshumaan Pushkar). Shankar Singh (Saurabh Shukla), a powerful state minister, serves as a mentor figure to Maalik, though their bond lacks genuine warmth and trust. Initially operating under Shankar’s patronage, Maalik tries to carve an independent path into politics. However, tension brews as Shankar’s cunning deputy, MLA Balhaar Singh, views him as a threat to his influence and aligns with his loyal enforcer Chandrashekhar (Saurabh Sachdeva) to counter his influence. The MLA also enlists the help of the suspended encounter specialist, Prabhu Das (Chatterjee), without consulting his boss. Other significant characters include Deepak’s wife, Shalini (Manushi Chillar), who lives with his disapproving father, Bindeshwar (Rajendra Gupta), and doting mother, Parvati (Baljinder Kaur).

At a glance, Maalik seems to have a well-stocked cast with an intense plot. Yet, there is no seeming character development in any of them. Chillar, yet again, falls victim to an underwritten love interest who serves as a moral compass to the protagonist, albeit with an improved screen presence from her earlier roles. There is not much shown of Badauna’s friendship with Deepak or their history, yet he shows fierce loyalty. Pushkar’s portrayal seems to just do the job, although seemingly underwhelming at some crucial points. Gupta brings out his usual gravitas on-screen, but his impact seems extremely limited except for serving as a catalyst.

Shukla shines as a cunning politician, bringing back memories of his iconic Bhiku Mhatre in Satya. Yet he does not seem to be as impactful to Maalik’s growth as a mentor. Kirkire seems to have departed from his usual comedic portrayals to a more serious and cunning role. Sachdeva is in his lane as an antagonist, although he merely serves as a support to Kirkire’s Balhaar Singh, harbouring his frustrations towards Maalik. Of all the antagonists, it is only Chatterjee’s Prabhu Das who seems to maintain a strong stance against the protagonist, but he too is a victim of limited screen time and ineffective writing. A man on a mission, he aims to cross a hundred encounters before his official retirement, with Maalik remaining his most elusive target. The impulsive outbursts in Bengali add to the charm of Chatterjee’s portrayal, giving it an added layer of authenticity.

The possibilities are endless when you mix a political thriller with a crime thriller, set against the backdrop of an already turbulent period in the region’s history. The 80s saw the rise of student politics and unions in Allahabad University (where Deepak was a student), the rise of gangster politicians and organised crime, and the slow rise of communal and caste-based politics and clashes. Yet, none of these were incorporated into the movie. Deepak mentioned he was tired of having to resign himself to his fate of serving someone, yet there are no clear implications of the factors behind it. They did, however, briefly highlight the entry of fully automatic rifles (AK-47s and AK-56s) into Uttar Pradesh’s arms market.

The movie does not seem to commit to either politics or crime. It tries to walk a fine line between the two while depending on tried-and-tested plotlines, bringing nothing new to the table. It is the same trope the audience would have seen in classics like Vaastav or Satya, bringing in politics from Sarkar. The only visible flavour in the otherwise bland cinematography and direction is the signature UP dialect in Hindi, which makes for some fun dialogue delivery. However, it does not take too long for that to grow stale too. The first half takes too long to establish the characters and the plot, while the second half manages to raise the adrenaline only during a handful of action sequences. A forced item number featuring Huma Qureshi in the middle also does less to keep the audience entertained.

True to its name, Maalik’s only commanding presence is the protagonist. Rao seems to have taken over his co-stars’ screen time and maintains a solid performance as the gangster. Yet while he maintains that he is neither a hero nor a villain, he seems to fall short of a true antihero. He is the main character in a story that has nothing new or experimental, which makes his performance stand out from the rest. Worth a one-time watch in theatres, but it might disappoint many when it releases on OTT.

 

Film: Maalik

Director: Pulkit

Cast: Rajkummar Rao, Prosenjit Chatterjee, Manushi Chillar, Swanand Kirkire, Saurabh Sachdeva, Saurabh Shukla, Anshumaan Pushkar

Rating: 2/5

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