Films about academicians and pedagogy rarely make an interesting script, least of all from Bollywood's point of view which seeks drama in every real story. But Hrithik Roshan's "Super30" achieves that rare distinction. In 154 minutes, director Vikas Bahl re-constructs the surreal life story of a living legend Anand Kumar who's academy in Bihar has been handpicking thirty students every year for making it to the IITs for the last decade or so. From that point itself, the film deserves appreciation - because a subject of how a poverty-stricken passionate Mathematician finds his mojo in life after failing to muster all the money to go to Cambridge University, and later strikes gold by getting paid a bomb at corporate coaching centers where the rich pay princely sums to get their inert kids through the IIT entrance and finally, leaves all that addictive remuneration to start an academy which proves a leveler, on behalf of the poor students from humble backgrounds. The story of the film is an exaggerated cinematic depiction of that struggle of Anand Kumar (who is today celebrated all over Bihar and India as a poor man's passport-giver to the rigorous IITs) but Vikas Behal creates an exciting screen output of a story that needed to be told, aided by the Roshans (minus their in-house music director), a sharp technical crew of writer (Sanjiv Dutta) and editor (Sreekar Prasad) and an acting ensemble who know their lines well (including Pankaj Tripathi and Aditya Srivastava).
What makes the film authentic is the attention to detail in every frame, even if parts of that are dramatized for emphasis. And in doing so, the director never misses an occasion to milk emotions - whether it is the fleeting romantic moments with Mrunal Thakur (she shines even in the briefest lover role ever in a Hrithik film), or with father (Virendra Saxena) or the brief but frustrating encounters with the librarian, or the home which takes papads from him and immediately thrusts his Cambridge letter into a fire pyre (but how did Hrithik have the heart to wrap his papads into it?). The director's precise thinking can be seen from just one scene in the library: Hritihik smuggles himself into a corner of a library trying to steal visuals of one Mathematical Gazette that could be his passport to glory. Any other film-maker could show another corner of a library, but Hrithik is shown in the corner of books about Post-War British History and Economics ( a corner which we can safely assume will be undetected by the librarian who later yanks him out). Throughout the film, visuals like these show a director in command of his craft and wants to pack as much excitement into telling an inspiring story. The build up to the interval is interesting as are the different episodes in the second half which show his innovative pedagogy (methods of teaching concepts in maths, physics and chemistry), the Holi sequence (which is the only lovable item song in the film) and the electrifying climax (where the students distract and destroy an enemy camp out to eliminate them).
Music by Ajay-Atul is one of the most haunting scores in recent times which meet the criteria of a real-life reel drama - measured, melodious, heart-stringing and comprehensive. All the five songs show the class, range and mettle of the composer duo as they have the ability to trigger the right emotions, capture the ethos and yet make the music sound so distinct and clear. Reminded me of the times when Amit Trivedi burst on the scene many years before. If the songs are good, the BGM score is a different class apart - using sanskritised voice-overs of prayer song to invoke the blessings of Goddess Saraswati, the composers build a crescendo in the second half throughout that is at once piercing, soothing and brilliant in orchestral magic. That song that culminates in the climax and throughout the second half is unfortunately, not in the OST but will surely linger on long after you leave the theatre. Performances-wise, Hrithik Roshan is apt and comes out alive after a long time since there is no iron-pumping or Greek beauty to show - he practiced his Bihari accent well and delivers a neat performance that should get some brownie points (pun intended). What subtracts from the film is that the kids (whom you wanted to know more about after the Basanti Song) should have been highlighted more in flesh and bone. But I fully subscribe to the view that the film is dramatized to full measure because of which it has become so engaging to watch - any other treatment would have rendered it less exciting. If only the director spent a little more time to dig into the pedagogy happening in these money-spinning corporate centers, and the suicides happening into IITs, this would have been a seminal film. But overall, a soul-satisfying film and one for the Roshans to be remembered for. Never a dull moment, even for the kids. Go all out for it!
Rating: 3.5/5
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