Plot: Chambal: the land of rebels, politicians, bullets and blood. In this hostile territory, you either live by the gun…or die by the gun. Revolver Rani is set in this hostile world where there are no friends; only fragile alliances and deadly enemies that aim straight for the head. But sometimes you don’t need to take lives to finish your enemies. Sometimes you just need to go for their heart. Revolver Rani is a satirical and unusual love story set against the back drop of politics. It’s about Alka Singh (aka Revolver Rani), the leader of a political party, and her obsessive love for Rohan Mehra, a rising star of Bollywood. The elections in Gwalior have just finished and Alka’s reign has come to an end. Her opposition, the Tomar party, have come into power and want to use their new position to take out Alka…but first they want to hurt her. The Tomar’s kidnap Rohan from Mumbai and take him back to Gwalior with the aim to kill him. They’re about to pull the trigger when Revolver Rani turns up all guns blazing and saves his life. Revolver Rani has a very unique story at its heart that has only ever been hinted at before in Bollywood. This film will bring that story into the limelight and show the viewers what would happen if a political giant fell in love with a Bollywood star and then had to protect him from her enemies. It’s a very authentic satire, littered with dead bodies, love and black comedy that builds up to an iconic climax set in the Shivpuri Bird Sanctuary just before the break of dawn. Even if she is deadly…Revolver Rani needs love too!
I have a habit of going back and watching the trailer of the film I watch, before I write my review. I saw the trailer of ‘Revolver Rani&rsqu...
I have a habit of going back and watching the trailer of the film I watch, before I write my review. I saw the trailer of ‘Revolver Rani’ again and realized why I felt cheated with the film. The trailer pitched the film as an irreverent, pulpy, kitschy black comedy and it had Kangana Ranaut post her dazzling ‘Queen’ performance. Fun times at the movies guaranteed. NOT.
Alka Singh (Kangana Ranaut) rules the land of Chambal. She has a bizarre fashion sense with a quirky love for Venice. Having lost the elections to her fierce opponent Udaybhan Tomar ( Zakhir Hussain) Alka’s current obsession is her toy boy Rohan Mehra ( Vir Das). Politically, she is a puppet in the hands of her uncle Bali (Piyush Mishra) but on the other hand, she makes Rohan dance to her tunes. Love and politics get entangled in this satirical black comedy.
Debutant Sai Kabir follows the template set by Tigmanshu Dhulia with Saheb Biwi aur Gangster and by Anurag Kashyap with Gangs of Wasseypur. The entire film is one mash up of these two films. Though it’s fun till the first half, it goes completely off track in terms of tone and story in the 2nd half. What makes the film a bearable watch are the performances. Kangana is on a confident high and it comes across in her performance. Vir Das who I thought would be lost surprisingly does a decent job. Piyush Mishra is in the same element as Wasseypur. The character that made me crack up the most is the newsreader. I am still reeling over her “sim sim pola pola” joke.
On the day that Subhash Ghai’s Kaanchi released ,Sai Kabir pays a cheeky tribute to him in this film. He mounts the film lavishly, creates an interesting character in Alka, who could have been our home grown Uma Thurman but fails to support her with an equally interesting story and screenplay.
At the end you leave the theatre with Kangana’s feisty portrayal of Alka and a couple of really cool songs like Chal ladhe re bhaiyya and thaaayein kare katta by Piyush Mishra, the title song by the forever cool crooning rani Usha Uthup.
Word of mouth – Revolver Rani fires a lot of blanks. Thaayein thaayein phuss.
A reporter from an India TV like Hindi news channel contantly intersects the proceedings in Revolver Rani, taking forward the narrative with a cryp...
A reporter from an India TV like Hindi news channel contantly intersects the proceedings in Revolver Rani, taking forward the narrative with a cryptic out of place hindi song lyric read out in the same cryptic manner that she reads out the "sansanikhez khabar" of the evening. Gems like these are what make one feel sad about the immense potential that Revolver Rani had in it self on paper but never got translated well enough on reel.
Alka, the Hero of this film, is part fable, part legend, part Lady Gaga meets Phoolan Devi, who has lost elections to her rival Bhan Singh. Her uncle Billa Mama is busy plotting her return to power, while she is loking for her own self in the mess that her life has been trying to be the gun toting dakait in a patriarchal society. She falls head over heels in love with her Boy Toy Rohan, the heroine of the film, and gets pregnant. How her pregnancy and search for the woman inside her upsets the political equations in Chambal form the rest of the story of this quirky off-tune to a fault narrative.
Director Sai Kabir has a winner of a character in Alka. Presented initially as a comic book super woman, Kabir creates a deliciously quirky madcap persona that has a hint of noir, a hint of pulp in it. Sadly, he never is able to take this forward. Alka, played by a magnificent Kangana, swings between inspired eccentricity and downright confusion of identity and quite unconvincingly at that. Kangana, who shines as Alka in some parts, tries hard to make up for this fatal flaw in her character but does not always come out smiling. Her Alka is unsure and off track spceially in the second half where her switch from a teddy holding to be mother to a fire brand jumping from the roof to kill the goondas happens abruptly.
The story also wastes Rohan- sad more so since it is an interesting role reversal we see where in the hero is actually the heroine of the movie. Vir Das as Rohan is cluelessly sitting in the background most of the film while Kangana and Piyush as Billa Mama take centre stage with alacrity. The Alka- Rohan love track as well is draging after a point, their matrimonial melodrama long drawn and boring in the second half.
Yet, Revolver Rani does have its moments. The humor, especially in the second half, is sharp, blunt and throws up stereotypes to bring out the irony of our times. The background score is again a perfect blend of outlandishness and noir. The editing though is abrupt, scenes at times do not even have a sense of a flow. Also inconsistent is the tenor and tone of the film- oscillating between pulp comic fantasy to serious fiction, not one strand comes out strong leaving one confused and a tad bored in the two odd hours of the movie. If only Kabir had more gumption in his execution, Revolver Rani would have been an excellent film. As it stands now, watch it mostly for Kangana, and to quench your thirst a little for unconventional Bollywood.