{"id":2822,"date":"2016-03-24T13:03:53","date_gmt":"2016-03-24T07:33:53","guid":{"rendered":"http:\/\/13.201.39.237\/?p=2822"},"modified":"2026-07-17T20:14:56","modified_gmt":"2026-07-17T14:44:56","slug":"sanju-review-ranbir-kapooir-sanjay-dutt-rajkumar-hirani","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=2822","title":{"rendered":"Sanju Review: Let\u2019s Blame Everyone But Baba"},"content":{"rendered":"\n

T<\/span><\/p><\/div>

he one-line message of <\/span>Rajkumar Hirani\u2019s <\/span><\/a>Sanju<\/span><\/i> (for which he also gets a story, screenplay, and editor credit) is encapsulated in a song employed in the film: \u201cKuch toh log kahenge, logon ka kaam hai kehna.\u201d<\/span>\n\nThe idea is to invoke sentimentality, and it sets the tone of the entire film \u2013 an authorised biopic based on the life of <\/span>Sanjay Dutt<\/span><\/a>, arguably the movie event of the year \u2013 that\u2019s brought to life by its compelling lead Ranbir Kapoor. It’s also its sole villain and most alarming of all, the stand Hirani decides to take in <\/span>Sanju<\/span><\/i>. \u00a0<\/span>\n\nBut first, let\u2019s get the essentials out of the way. <\/span>Kapoor\u2019s<\/span><\/a> mercurial turn doesn\u2019t just recreate the arresting persona of Dutt, but also gives a peek into his emotional core. He single-handedly makes <\/span>Sanju<\/span><\/i> affecting cinema, riding on the back of the electric chemistry he shares with Vicky Kaushal. <\/span>\n\nBut as a crowd-pleasing biopic, the verdict is clear: Sanjay Dutt shouldn\u2019t be blamed.<\/span>\n\nIn <\/span>Sanju<\/span><\/i><\/a>, the treatment of every scene imbibes this stand. When the film isn\u2019t engrossed in declaring, in no uncertain terms, that Dutt was a victim of his circumstances which were inaccurately exaggerated and sensationalised by the media, it moulds itself into a comedy. Take the now infamous scene where Winnie, a biographer (<\/span>Anushka Sharma<\/span><\/a> in a wasted role and wig) meets Dutt and tests the veracity of his story by asking him the total number of women he\u2019s slept with. Dutt answers that once when he was drunk, he had roughly chalked up the number to around 350 women, minus sex workers. His admission is accompanied by a comical background score \u2013 as if womanising is a harmless punchline \u2013 and the occupants of the housefull theatre around me fittingly responded with collective laughter.<\/span>\n\nThe film brushing off of Dutt\u2019s philanderous ways isn\u2019t an exception \u2013 it\u2019s the route adopted to communicate the emotional and moral transgressions of its lead. When he betrays his best friend (a scene-stealing Kaushal) by sleeping with his <\/span>girlfriend<\/span><\/a>, it\u2019s because he was looking out for him by \u201ctesting her loyalty\u201d as if sex isn\u2019t a two-way street. He then goes on to question \u201cher character\u201d, and reduces the moment to a hilarious sequence, ably supported by a comical score. <\/span>\n\n

Rajkumar Hirani\u2019s insistence to not acknowledge that flawed men can own up to their flaws, is Sanju\u2019s greatest weakness.<\/p><\/blockquote> \n\nThis isn\u2019t to argue that superstars shouldn\u2019t be flawed or that those flaws shouldn\u2019t make it to the screen. What is troublesome is the treatment of those flaws. Because, as we will later see, these supposedly harmless dismissals will be used to absolve Dutt of any wrongdoing. \u00a0<\/span>\n\nIn a later scene, Dutt meets with a politician to clear his <\/span>\u201cterrorist\u201d<\/span><\/a> tag. The scene swiftly shifts focus to derive comedy from the sight of the ageing politician falling asleep mid-conversation. It\u2019s as if the film itself doesn\u2019t take the charges against Dutt seriously and presumes his innocence, shying away from exploring any level of his culpability.<\/span>\n\nTo deal with the judicial accusations against Dutt, <\/span>Sanju <\/span><\/i>comes up with predictable villains: The \u201cterrorist\u201d tag is the figment of every Indian tabloid\u2019s over-enthusiastic imagination. He was never friendly with the <\/span>underworld<\/span><\/a> (Abu Salem dropping off an assault rifle to your house is an everyday occurrence, according to <\/span>Sanju<\/span><\/i>); just \u201cforced\u201d to acquaint himself with them to safeguard his life. He was in possession of an AK-56 only because he was scared of the rape and death threats of his family in the aftermath of the <\/span>Babri Masjid <\/span><\/a>riots. Naturally, he also disposed it, out of that same fear. <\/span>\n\nNot only does <\/span>Sanju<\/span><\/i> imply that Dutt is in no way connected to the 1993 Mumbai blasts, but it even goes as far as labelling samachar as the \u201cdrug\u201d that has overpowered the intellect of everyone who believes that he is a criminal. Basically, everyone (especially external factors) is at fault, but Dutt.<\/span>\n\nTo Hirani\u2019s credit,<\/span> Sanju<\/span><\/i> does not shy away from emphasising Dutt\u2019s drug abuse (Although, the film neatly caps it off by implying that Jim Sarbh\u2019s Zubin Mistry is responsible for his addiction.) Or his <\/span>jail <\/span><\/a>stint, even though court proceedings are skimmed over and his imprisonment is only used as a device to goad empathy for his family. But in making the media\u2019s unverified headlines the film\u2019s greatest villain instead of Dutt\u2019s self-destructive behaviour, <\/span>Sanju <\/span><\/i>does precisely what it proudly announces it doesn\u2019t: glorify Sanjay Dutt. <\/span>\n\nIt\u2019s a bit unfortunate that a clever, talented filmmaker like Hirani, who has his finger firmly on the pulse of <\/span>India\u2019s cinema-going audiences<\/span><\/a>, would depict Dutt as a \u201cflawed\u201d and \u201cbroken\u201d personality. There\u2019s no denying that he is quite possibly all of those things, but there\u2019s only so much that these traits can justify for the untoward actions of a grown man. \u201cBad choices make good stories\u201d, sure; that would work had he not cemented Dutt as a misunderstood hero. <\/span>\n\n\"Sanju\n

\n

Ranbir Kapoor\u2019s mercurial turn doesn\u2019t just recreate the arresting persona of Sanjay Dutt, but also gives a peek into his emotional core. He single-handedly makes Sanju<\/em> arresting cinema<\/p>\n

Image credit: Vidhu Vinod Chopra Productions<\/p>\n<\/figcaption>\n<\/figure>\n\nBut the filmmaker\u2019s insistence to not acknowledge that flawed men can own up to their flaws, is <\/span>Sanju\u2019s<\/span><\/i> greatest weakness.<\/span>\n\nThat\u2019s also why it\u2019s impossible to view <\/span>Sanju<\/span><\/i> just as Dutt\u2019s point of view of his own life, mainly because by deciding to not dwell on certain facts, the film becomes an endorsement. <\/span>Sanju<\/span><\/i> has nothing to say about Dutt\u2019s previous wives and their effect on his life. Every character apart from Sunil, Nargis, and Maanyata Dutt are given fictional names. The debate regarding Dutt getting frequent paroles because of his <\/span>celebrity status<\/span><\/a> finds no place in the film. \u00a0<\/span>\n\nHis sisters are also unceremoniously sidelined, as are the consequences of his actions on their lives. While the film has enough and more to say about the damaging effects of irresponsible reporting on his life, it remains mum on Bollywood\u2019s tendency to trivialise misdemeanours of their own. By sticking to the film fraternity narrative of Dutt making some \u201cmistakes\u201d, <\/span>Sanju <\/span><\/i>gives its lead a free pass \u2013 absolving him of the responsibility of owning up to them. It\u2019s a double standard truly inherent to a <\/span>Bollywood biopic<\/span><\/a>. Just like how throughout <\/span>Sanju<\/span><\/i>, Dutt comes off as a habitual liar. And yet, with its very existence, the film expects you to trust his version.<\/span>\n\nSanju<\/span><\/i> also raises some questions about the accountability of a biopic \u2014 its innate template demands a redemption for its protagonist. The film can\u2019t help but afford its lead a clean chit. It makes Dutt the victim, when he should have really been a supporting character.<\/span>\n\nBut most importantly, <\/span>Sanju\u2019s<\/span><\/i> admiration-laced sympathetic gaze is doubly problematic for the same reason <\/span>Darkest Hour<\/span><\/i> and its depiction of Winston Churchill faced backlash. It doesn\u2019t just heroise a flawed personality, but also ends up as the definitive and selective account for the future. <\/span>\n\nSanju <\/span><\/i>will be Dutt\u2019s legacy. When people with no other context of Dutt\u2019s actions watch the film, they won\u2019t know the reason behind Dutt\u2019s conviction under TADA. They will only remember that Dutt made a cameo appearance in his biopic, dancing with Ranbir Kapoor to the song \u201cBaba bolta hai ab bas ho gaya\u201d. A song, that only supports his innocence. \u00a0<\/span>\n","protected":false},"excerpt":{"rendered":"

In Rajkumar Hirani\u2019s biopic on Sanjay Dutt\u2019s life, the greatest villain is the media \u2013 not Dutt\u2019s self-destructive behaviour. Sanju does exactly what it proudly announces that it doesn\u2019t do: glorify Sanjay Dutt.<\/p>\n","protected":false},"author":103,"featured_media":2825,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[],"class_list":["post-2822","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood"],"yoast_head":"\nSanju Review: Let\u2019s Blame Everyone But Baba<\/title>\n<meta name=\"description\" content=\"In Rajkumar Hirani\u2019s biopic on Sanjay Dutt\u2019s life, the greatest villain is the media \u2013 not Dutt\u2019s self-destructive behaviour. 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