My Mirror column last Sunday:
Saala Khadoos reframes a story we know from many sports films: the coach plagued by controversy takes on an unlikely candidate and trains him or her to success. The most well-known example of this narrative in recent decades is probably Million Dollar Baby, Clint Eastwood's Oscar-winning 2004 film starring Hilary Swank as a Missouri waitress who becomes a prize-winning boxer under training from a crusty old coach (Eastwood himself). The sports film is relatively new in Hindi cinema, but we, too, have had this narrative appear in Chak De India (2007), in which Shah Rukh Khan plays a discredited (Muslim) hockey captain who regains nationalist credibility by coaching an underdog Indian women's hockey team to a World Cup victory.
Unlike Swank's character in Million Dollar Baby (or Priyanka Chopra's in 2015's Mary Kom), in Saala Khadoos it is not Madhi (Ritika Singh) who hankers after the idea of being a boxer. It is an otherwise dismissive boxing coach Adi Tomar (Madhavan) who zones in on her as an unpolished diamond, one he's certain will shine if he can hone her natural talent.
A former boxer who's been 'demoted' from Delhi to Chennai by long-time rival Dev (Zakir Hussain), who is now head honcho of the women's selection team, Adi is a jaded character who stands around delivering cynical comebacks even as the results of trial bouts are being clearly overturned by nepotism right before his eyes. Madhi - the loyal younger sister of the boxer being passed over - attacks the selection committee in a rage, letting fly a series of punches and kicks before she is dragged away. Something about Madhi's energy intrigues Adi, and he offers to train her, but she only agrees to show up for four hours a day when he promises to pay her an allowance of 500 rupees a day.
The dynamic here -- the reluctant wild child pupil and the committed, mature coach -- is one of the interesting things about Sudha Kongara's screenplay, especially because Madhavan's Adi is by no means the calm level-headed guy in other parts of his life. When we first meet him, he is in bed with a married woman. (When accused of this by the snooping Dev, he announces - quite rightly - that it is no business of theirs). Minutes after, told he is being transferred on a fictitious sexual harassment charge, he completely loses it, grabbing Dev's crotch in a graphic display of violent anger. With the uncontrollable Madhi, he plays the disciplined foil. Yet it's apparent that his connection with her is one that is founded on a certain identification, the recognition of a younger self in this youthful, slightly crazed creature who has not been broken in.
Saala Khadoos makes Dev a peg on which to hang pretty much all the problems that assail sports, particularly women's sports, in India -- third-rate facilities; inept, power-hungry trainers; corruption and nepotism; and sexual harassment. Thankfully Hussain is talented enough to make us believe entirely in this wholly nasty character.
Mumtaz Sorcar as Lux (short for Luxmi), the older sister who has been struggling to box her way into a police job for years cuts an interesting figure - unusual as her choice of boxing is, she doesn't have that fire in the belly, and is upstaged completely by Madhi when Madhi starts to take boxing seriously.
Kongara extracts affecting performances from her actors, but the film is often overblown and needlessly loud. And her constant use of musical sequences to do the storytelling leaves us feeling less for the characters than we might otherwise have done. Yet we stay with Madhi till that final scene in the ring that we all know is coming.
What is it about boxing that makes it so powerful as a cinematic subject? It has certainly been the most often-seen sport in American films, from as early as 1931, with King Vidor's The Champ, through Martin Ritt's The Great White Hope (1970), about a black boxer, and Martin Scorcese's classic Raging Bull (1980), down to David O. Russell's The Fighter (2000), about two brothers who're boxers. And of course there was Sylvester Stallone's immensely successful Rocky series, which traversed almost three decades. The most memorable boxing film in my book, though, is the Italian classic Rocco and His Brothers, with Luchino Visconti directing the incandescent Alain Delon.
The cinematic figure of the boxer, drawing from many real life stories, is often someone who rises from poverty through grit and determination. Hindi films, have used this particular trope to varying success - think of Ghulam, which adapted On the Waterfront, or more recently Bombay Velvet, where a miscast Ranbir Kapoor wins many a bloody prize fight. Saala Khadoos is as uneven as these. And yet we will stay on to cheer till the end.
Saala Khadoos reframes a story we know from many sports films: the coach plagued by controversy takes on an unlikely candidate and trains him or her to success. The most well-known example of this narrative in recent decades is probably Million Dollar Baby, Clint Eastwood's Oscar-winning 2004 film starring Hilary Swank as a Missouri waitress who becomes a prize-winning boxer under training from a crusty old coach (Eastwood himself). The sports film is relatively new in Hindi cinema, but we, too, have had this narrative appear in Chak De India (2007), in which Shah Rukh Khan plays a discredited (Muslim) hockey captain who regains nationalist credibility by coaching an underdog Indian women's hockey team to a World Cup victory.
Unlike Swank's character in Million Dollar Baby (or Priyanka Chopra's in 2015's Mary Kom), in Saala Khadoos it is not Madhi (Ritika Singh) who hankers after the idea of being a boxer. It is an otherwise dismissive boxing coach Adi Tomar (Madhavan) who zones in on her as an unpolished diamond, one he's certain will shine if he can hone her natural talent.
A former boxer who's been 'demoted' from Delhi to Chennai by long-time rival Dev (Zakir Hussain), who is now head honcho of the women's selection team, Adi is a jaded character who stands around delivering cynical comebacks even as the results of trial bouts are being clearly overturned by nepotism right before his eyes. Madhi - the loyal younger sister of the boxer being passed over - attacks the selection committee in a rage, letting fly a series of punches and kicks before she is dragged away. Something about Madhi's energy intrigues Adi, and he offers to train her, but she only agrees to show up for four hours a day when he promises to pay her an allowance of 500 rupees a day.
The dynamic here -- the reluctant wild child pupil and the committed, mature coach -- is one of the interesting things about Sudha Kongara's screenplay, especially because Madhavan's Adi is by no means the calm level-headed guy in other parts of his life. When we first meet him, he is in bed with a married woman. (When accused of this by the snooping Dev, he announces - quite rightly - that it is no business of theirs). Minutes after, told he is being transferred on a fictitious sexual harassment charge, he completely loses it, grabbing Dev's crotch in a graphic display of violent anger. With the uncontrollable Madhi, he plays the disciplined foil. Yet it's apparent that his connection with her is one that is founded on a certain identification, the recognition of a younger self in this youthful, slightly crazed creature who has not been broken in.
Saala Khadoos makes Dev a peg on which to hang pretty much all the problems that assail sports, particularly women's sports, in India -- third-rate facilities; inept, power-hungry trainers; corruption and nepotism; and sexual harassment. Thankfully Hussain is talented enough to make us believe entirely in this wholly nasty character.
Mumtaz Sorcar as Lux (short for Luxmi), the older sister who has been struggling to box her way into a police job for years cuts an interesting figure - unusual as her choice of boxing is, she doesn't have that fire in the belly, and is upstaged completely by Madhi when Madhi starts to take boxing seriously.
Kongara extracts affecting performances from her actors, but the film is often overblown and needlessly loud. And her constant use of musical sequences to do the storytelling leaves us feeling less for the characters than we might otherwise have done. Yet we stay with Madhi till that final scene in the ring that we all know is coming.
What is it about boxing that makes it so powerful as a cinematic subject? It has certainly been the most often-seen sport in American films, from as early as 1931, with King Vidor's The Champ, through Martin Ritt's The Great White Hope (1970), about a black boxer, and Martin Scorcese's classic Raging Bull (1980), down to David O. Russell's The Fighter (2000), about two brothers who're boxers. And of course there was Sylvester Stallone's immensely successful Rocky series, which traversed almost three decades. The most memorable boxing film in my book, though, is the Italian classic Rocco and His Brothers, with Luchino Visconti directing the incandescent Alain Delon.
The cinematic figure of the boxer, drawing from many real life stories, is often someone who rises from poverty through grit and determination. Hindi films, have used this particular trope to varying success - think of Ghulam, which adapted On the Waterfront, or more recently Bombay Velvet, where a miscast Ranbir Kapoor wins many a bloody prize fight. Saala Khadoos is as uneven as these. And yet we will stay on to cheer till the end.
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