It is this horse that RGV rides into the ground and he does it with aplomb. By now, one has grown accustomed to his patent-pending MeanderCam, the canted camera angles (straight shots seem limited to indoor sequences) and the loud background score. The campy expressionism of villainy is given a shot in the arm with the rest of the usual suspects (Sayaji Shinde, Upendra Limaye (who spends time singing Hindi film ditties and correcting the pronunication -- "woraa not voraa" -- of his character's last name) and Govind Namdeo. Aside from Ms. World-now-Bachchan, the most prominent addition to the roster is Dilip Prabhawalkar. No time is spent in attempting to get the audience to invest in any character. As with his existing ouevre, this film digs into the sordid bag of real life for some shards of inspiration (Enron, in this case, but just barely). A lot of what happens is strictly a setup of dominos stacked for the final cascade. RGV even returns to The Godfather for one of several turning points in the film. The good get corrupted, the innocent get eliminated, the upright end up being downright heinous. Never showing us the face of a contract shooter must rank as an under-sung achievement. The spoken word is sparse and uttered with grave seriousness. Cool is underplayed even for great punchlines like jaan lenaa jurm hai; sahii samay par jaan lenaa ... raajaniiti. Grief fuels retribution and it all ends with ek chaay laao, perhaps the most outstanding final line in Bollywood cinema for a long time to come.
It would be interesting to see another sequel emerge from the rubble of this pogrom. That possibility notwithstanding, the sequel's more fun if you watch it not as a piece of moderately serious gangster cinema, but for what it's worth: a darkly funny parody of serious gangster cinema and everything that Sarkar took the pain to found.