{"id":4270,"date":"2016-06-26T13:39:04","date_gmt":"2016-06-26T08:09:04","guid":{"rendered":"http:\/\/13.201.39.237\/?p=4270"},"modified":"2026-07-17T21:00:21","modified_gmt":"2026-07-17T15:30:21","slug":"sonchiriya-review-abhishek-chaubey-ranvir-shorey-chambal","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=4270","title":{"rendered":"Sonchiriya Review: A Masterful Look at Daakus With Existential Issues"},"content":{"rendered":"\n

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

n one of the more harrowing moments in Abhishek Chaubey\u2019s masterful <\/span>Sonchiriya<\/span><\/i>, Phooliya, the red head-banded leader of the Mallah gang of dacoits tells Indumati (Bhumi Pednekar) \u2013 a Thakur wife who has fled home after killing her father-in-law for raping a 12-year-old untouchable girl \u2013 to join her gang. She makes this offer as she helps Indumati and Lakhan (Sushant Singh Rajput), a dacoit from a rival outlawed gang, ferry the survivor to the nearest hospital. <\/span>\n\nIndumati reveals to her that they\u2019re not from the same caste \u2013 a piece of information that requires brandishing, given that dacoit gangs are victims of caste segregation. Phooliya shakes her head and delivers the film\u2019s most chilling line, \u201cCastes are there to categorise men.\u201d All women, Phooliya tells Indumati, make up a wholly different caste, that is beneath everyone. It\u2019s a scene that also encapsulates the extent of Chaubey and co-writer Sudip Sharma\u2019s (<\/span>NH10<\/span><\/i>, <\/span>Udta Punjab<\/span><\/i>) ambition: To examine the psyche of a sub-culture that falls at the intersection of patriarchy, caste, and cyclical violence. The result is a jarring psychological meditation on rebellion: As <\/span>Sonchiriya <\/span><\/i>ponders, can salvation really be attained if one continues to be bound by the inherited shackles of tradition?<\/span>\n\nSet in the labyrinthian ravines of Chambal in 1975 \u2013 incidentally, the same year <\/span>Sholay<\/span><\/i> released and immortalised Gabbar Singh \u2013 <\/span>Sonchiriya <\/span><\/i>resembles a Western. But it presents itself as an atmospheric mood piece that is closer to a modern update of Shekhar Kapur\u2019s 1994 <\/span>Bandit Queen<\/span><\/i>. Chaubey\u2019s film is both informed by and pays homage to Kapur\u2019s biopic: Besides their geography, politics, and the specificity of its violence, both the films share the reticent Man Singh (Manoj Bajpayee in a cameo) in action. In Chaubey\u2019s interpretation however, Man Singh is reduced to a ghost of a man, with sunken eyes and a face that seems to be in a perennial state of mourning \u2013 presumably from a life of perpetual violence.<\/span>\n\nWhile India wrestles with Indira Gandhi\u2019s declaration of Emergency, the dacoits of Man Singh\u2019s gang, including his two right-hand men, Lakhan and Vakil Singh (Ranvir Shorey) set out to battle an internal emergency: Do the deaths they inflict on strangers actually serve a higher purpose? Do men who kill for a living even get to process remorse or is their life meant to be their punishment? These are questions that Hindi cinema, which has largely treated the genre in a unidimensional way, has hardly asked of its dacoits.<\/span>\n\n

For much of its run-time, Sonchiriya is packed to the brim with commentary that mines the past to inform the injustices of the present.<\/p><\/blockquote> \n\nThe film\u2019s opening sequence \u2013 a gang of dacoits approaching a dead snake crawling with flies before being ambushed in a shootout that claims the life of almost the entire gang \u2013 draws generous inspiration from Sam Peckinpah\u2019s 1969 Western, <\/span>The Wild Bunch<\/span><\/i>. But it\u2019s also a moment that stands on its own. Chaubey localises the sequence, while also denying the viewer the full picture, constantly demanding that we keep redefining our opinion on the gang\u2019s morality.<\/span>\n\nFor much of its run-time, <\/span>Sonchiriya<\/span><\/i> is packed to the brim with commentary that mines the past to inform the injustices of the present. It can seem like an overreach at times, but the film gains from Chaubey\u2019s deft mastery over tying together the different strands of the film\u2019s thematic preoccupations. A scene where Indumati attacks, ties up, resists, and then escapes the clutches of Beni Ram \u2013 the same man who brutalised Phooliya and is later handed over to her \u2013 is captivating. More than one action set-piece in <\/span>Sonchiriya<\/span><\/i> enthralled me with the sheer ingenuity of how the camera takes in the violence. Unlike <\/span>Uri<\/span><\/i>, there\u2019s a certain fluidity about Anuj Rakesh Dhawan\u2019s cinematography that accentuates every gunshot, every punch, resisting the temptation to publicise it. He shoots the vastness of Chambal in a way reminiscent of the ethnographic specificity of Wang Quan\u2019an\u2019s <\/span>\u00d6nd\u00f6g<\/span><\/i>, that is recognisable by its Mongolian steppes. <\/span>\n\nAlthough the film operates in a universe different from <\/span>Gully Boy<\/span><\/i>, it does pretty much the same in elevating the ensemble: Every actor evokes a lived-in understanding of their character that isn\u2019t just limited to their dialect (the film is in Bundelkhandi) or body language. Especially, Ranvir Shorey, an actor who otherwise rattles Hindi cinema, which has rarely challenged the actor\u2019s potential until <\/span>Sonchiriya<\/span><\/i>. Teetering on the brink of rage and reluctantly willing himself toward enlightenment, Vakil Singh\u2019s moral ambiguity simmers with the irrelevance of a wild-child who has long stopped struggling to live with himself \u2013 lending <\/span>Sonchiriya<\/span><\/i> much of its bite.<\/span>\n\n\"Sonchiriya\n

\n

\u201cCastes are there to categorise men.\u201d All women, Phooliya tells Indumati, make up a wholly different caste, that is beneath everyone.<\/p>\n

Image credit: RSVP Pictures<\/p>\n<\/figcaption>\n<\/figure>\n\nIn an interview a few weeks before the film\u2019s release, Chaubey \u2013 who returns to direction after 2016\u2019s <\/span>Udta Punjab<\/span><\/i> \u2013 dubbed the unsparing dacoit drama as a film about \u201cdaakus with existential issues,\u201d making it almost seem like a palatable black comedy. A few minutes into its nihilistic universe, it becomes clear why the filmmaker might have felt the need to unpack its dense themes into a quotable summary: For an audience reared on mainstream masala films where the dacoits always arrive on horses with clever taqiya qalams, <\/span>Sonchiriya\u2019s<\/span><\/i> audaciousness will hardly translate into commercial viability. <\/span>\n\nIn fact, this week\u2019s two Hindi films releases \u2013 Chaubey\u2019s <\/span>Sonchiriya <\/span><\/i>and Laxman Utekar\u2019s <\/span>Luka Chuppi<\/span><\/i> \u2013 exist on two opposite spectrums of Bollywood sensibility. The former is an ambitious and imaginative resuscitation of a dying genre and the latter is a two-hour meme which will possibly rake in 100 crores in a couple of days. <\/span>\n","protected":false},"excerpt":{"rendered":"

Set in the ravines of Chambal in 1975, Sonchiriya resembles a Western, but presents itself as an atmospheric mood piece. The dacoits in the movie ponder deep questions like, do the deaths they inflict serve a higher purpose, and is their life meant to be their punishment?<\/p>\n","protected":false},"author":103,"featured_media":4273,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[7693,2164,7694,7695,7696,747],"class_list":["post-4270","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-a-bhishek-chaubey","tag-bhumi-pednekar","tag-ranvir-shorey","tag-sonchiriya","tag-sudip-sharma","tag-sushant-singh-rajput"],"yoast_head":"\nSonchiriya Review: A Masterful Look at Daakus With Existential Issues<\/title>\n<meta name=\"description\" content=\"Set in the ravines of Chambal in 1975, Sonchiriya resembles a Western, but presents itself as an atmospheric mood piece. 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