{"id":2894,"date":"2016-03-26T22:40:50","date_gmt":"2016-03-26T17:10:50","guid":{"rendered":"http:\/\/13.201.39.237\/?p=2894"},"modified":"2026-07-17T20:17:04","modified_gmt":"2026-07-17T14:47:04","slug":"sacred-games-netflix-saif-ali-khan-vikram-chandra","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=2894","title":{"rendered":"Sacred Games Review: India’s First Netflix Original Gets India Right"},"content":{"rendered":"\n

I<\/span><\/p><\/div>

n \u201cYayati\u201d, the explosive finale of <\/span>Sacred Games<\/span><\/i> \u2014 directed by <\/span>Anurag Kashyap<\/span><\/a> and <\/span>Vikramaditya Motwane<\/span><\/a>, and written by Varun Grover \u2014 Sartaj Singh (a superbly restrained <\/span>Saif Ali Khan<\/span><\/a>), its brooding anti-heroic cop is forced to learn a lesson in pain and faith. <\/span>\n\nCaptured and tortured while chasing an antagonist, Singh howls in agony while his captor and assassin Malcolm (Luke Kenny, who spends most of the show being mistaken for a foreigner) tells him a tale. The story goes like this: <\/span>Allah<\/span><\/a> asks two brothers, Haabil and Qaabil for a sacrifice and both of them then present their respective offerings. He only accepts Qaabil\u2019s sacrifice and enraged by the rejection, Haabil kills his brother. His death however, doesn\u2019t go in vain because Allah gives him justice: Haabil becomes the world\u2019s first martyr. After all, he dies for a \u201csacred\u201d cause.<\/span>\n\n\u201cYeh kahaani Bible mein bhi hai. Haabil Abel hai aur Qaabil, Cain. (This story is in the Bible too. Haabil is Abel and Qaabil is Cain),\u201d Malcolm tells Sartaj. Once he\u2019s done with his story, Malcolm poses a question: Why do you think God wants us to make such sacrifices so often? And answers it himself. \u201cAllah tang aa gaye hai humse (Allah is sick of us).\u201d It\u2019s an electric scene that suffocated by the helplessness pervading the proceedings successfully switches its focus on the beating heart of the show: the business of<\/span> religion<\/span><\/a>. <\/span>And let\u2019s face it, the show could not have chosen a better time to land. \n\nBut great timing aside, Sacred Games<\/span><\/i><\/a> was always going to be a bit of a gamble. Being the first \u201cOriginal Netflix Series\u201d comes with its own set of burdens: There\u2019s a responsibility to represent the essence of a country and the pressure of distilling its individuality into an universally accessible language. It\u2019s no mean task, especially when it comes to translating the myriad, contradictory beliefs of over a billion Indians on screen. And by betting on faith, this adaptation of Vikram Chandra\u2019s critically acclaimed book pulls off a coup. <\/span>\n\n

Sacred Games<\/em> is a testament to two of the country\u2019s most talented directors adapting to the demands of the smaller screen. <\/p><\/blockquote> \n\nThe result is a show that looks and feels typically <\/span>Mumbai<\/span><\/a> (gangsters and their marked territories, mob-rivalry, the apathy of the city\u2019s police force), but also inherently Indian (characters talk in a mix of Hindi, Punjabi, Marathi, and English). As the show suggests, there is no better way of defining India than by laying bare the country\u2019s obsession with its longest running sham \u2013 religion. It\u2019s also what elevates <\/span>Sacred Games<\/span><\/i> from just a cat-and-mouse game between two individuals to a never-ending war between two religious communities. After all, how can you defeat a demon you\u2019ve willingly chosen to follow?<\/span>\n\nThe show sets its intentions straight from the start. The first words uttered by Ganesh Gaitonde (a mercurial <\/span>Nawazuddin Siddiqui<\/span><\/a>), the notorious crime lord who\u2019s been missing for 16 years, to Singh are, \u201cBhagwan ko mante ho? Bhagwan ko lund pharak nahi padhta hai. (Do you believe in God? God doesn\u2019t give a fuck).\u201d As the show progresses, this indifference of God is juxtaposed with the fervent devotion of the masses to the debt they think they owe Allah and Bhagwan. <\/span>\n\nIt\u2019s a good thing that <\/span>Sacred Games<\/span><\/i> is on <\/span>Netflix<\/span><\/a>, a medium seemingly without any censorship, not just because it can let its protagonists cuss with abandon (There is however, a secret pleasure in watching a Nawab utter \u201cmadarchod\u201d). Or have ample nudity and sex scenes. But because it can extend the very premise of faith into demonic territory. Although, God and religion are significant themes in the book, the Netflix adaptation takes it up a notch by presenting the idea of religion being exploited as a pervasive and political weapon. It\u2019s the kind of freedom of expression that neither the country nor its <\/span>CBFC board<\/span><\/a> is literate in.<\/span>\n\nIn a way, the show mirrors the time we live in, where the food on your plate could dictate your fate and where saffronisation is slowly becoming a collective language. It\u2019s also why the Sacred Games<\/em> adaptation strays from the book and is set in the present replete with parallel flashbacks on Gaitonde\u2019s past years. But there’s more. <\/span>Sacred Games<\/span><\/i> also argues that this regime, where routine <\/span>lynchings<\/span><\/a> are considered the only way to save religion, are not a new occurrence. Religion is, and has always been used to shape politics, extract revenge, cause enmity, commit murder, and amass wealth. <\/span>\n\nSacred Games<\/span><\/i> cleverly invokes this argument in an early scene where Gaitonde hides pieces of chicken in a vegetarian thali at a \u201cpure <\/span>Hindu<\/span><\/a>\u201d restaurant run by a Brahmin. All Gaitonde wanted was revenge from the restaurant owner, who refused to pay his wages for the last two months, but its end result is the owner getting lynched to death. In the show, this scene unfolds in the \u201970s, but in real life, several similar scenes are unfolding everyday in various parts of the country. The only difference is, right now, lynchings don\u2019t even need a reason.<\/span>\n\n\"Sacred\n

\n

As a RAW agent, Radhika Apte is in fine form in Sacred Games<\/em><\/p>\n

Image credit: Netflix<\/p>\n<\/figcaption>\n<\/figure>\n\nDeriving its names from Hindu mythology, each of the eight episodes seethe with religious overtones (Allah, Bhagwan, Granth Sahib, and Ramayana are frequently invoked in the show) and Hindu-<\/span>Muslim<\/span><\/a> rifts form the core of the show\u2019s major conflicts, including a betrayal by Gaitonde\u2019s Muslim henchman that tears his life apart.<\/span>\n\nThe most damning indictment however, comes in \u201cAtapi Vatapi\u201d, the third episode of Sacred Games<\/em> where the legend of Atapi and Vatapi is used as a merciless metaphor for religion. Just like the demon brothers would invite tired travellers into their home, feed them a meal, and then destroy their souls, religion too invites naive devotees, satiates their lives, before holding their conscience hostage. \u201cDharmo ka yehi roop hai,\u201d says Guruji (<\/span>Pankaj Tripathi<\/span><\/a>) to a band of followers. <\/span>\n\nMore importantly, Sacred Games<\/span><\/i> is also a testament to two of the country\u2019s most talented directors showing an inclination to adapt to the demands of the smaller screen and its audiences. Unlike a host of generic web-series populating the internet, Kashyap and Motwane take the challenge as seriously as a <\/span>feature film<\/span><\/a>. Despite both of them shooting scenes independently (Motwane shot the Sartaj Singh bits and Kashyap the flashbacks involving Gaitonde), every episode comes together as a unified immersive experience, even though their distinct styles stand out. <\/span>\n\nThe captivating universe that the show builds, the taut writing (the pilot is especially arresting), and incredible casting (Radhika Apte, <\/span>Sunny Pawar,<\/span><\/a> Jitendra Joshi, Neeraj Kabi, Aamir Bashir) guarantees one thing: That <\/span>Sacred Games<\/span><\/i> is the game that we\u2019ve longed to play.<\/span>\n","protected":false},"excerpt":{"rendered":"

In Netflix\u2019s Sacred Games, Anurag Kashyap and Vikramaditya Motwane deliver a thriller that doesn\u2019t shy away from being an indictment on religion. The show argues that religion has always been used to shape politics, commit murder, and amass wealth.<\/p>\n","protected":false},"author":103,"featured_media":2897,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[82],"tags":[1287,2238,1341,4158,5782,1207,5784,1517],"class_list":["post-2894","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop-culture","tag-anurag-kashyap","tag-nawazuddin-siddiqui","tag-netflix","tag-radhika-apte","tag-sacred-games","tag-saif-ali-khan","tag-vikram-chandra","tag-vikramaditya-motwane"],"yoast_head":"\nSacred Games Review: India's First Netflix Original Gets India Right<\/title>\n<meta name=\"description\" content=\"In Netflix\u2019s Sacred Games, Anurag Kashyap and Vikramaditya Motwane deliver a thriller that doesn\u2019t shy away from being an indictment on religion. 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