Aarakshan (Deepika) who is also Dr.Anand’s daughter. The

Aarakshan is amovie that focuses on the caste based reservations in education system and jobopportunities in India. Without highlighting the pertinentissues directly associated with the quota system, director wants us to believethat coaching classes are an outcome of reservation.PLOT OF THEMOVIEIn 2008, Deepak Kumar(Saif) is at an interviewfor the teacher’s post at an affluent school.

The interviewers reject him whenthey find out about his low caste roots. Deepak relates this incident to thatof his mentor Dr.Prabhakar Anand(Amitabh Bachchan).

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Dr.Anand who is thePrincipal of a renowned college STM offers Deepak a teacher job. Deepak isComforted by his friend, Sushant (Prateik Babbar) who is an upper caste boy,andhis girlfriend Poorvi (Deepika) who is also Dr.Anand’s daughter.The state minister,Baburam,wishes to join hisno-good nephew at STM,but Dr.Anand does not accept him.The minister who isangry decides to install his own man,Mithilesh Singh (Manoj Bajpayee) on theCollege board. Mithilesh who is cunning and greedy seeks to enrich himself.

Theminister’s huge ambition is to build a multi-billion educational institutionand plans to use Mithilesh’s outside business a coaching class for it.The Court grantsreservations for Other Backward Classes. A large crowd of students,celebrating the news,arriveoutside the gates of the college and start a ruckus. Sushant gathers a group ofupper caste boys and tries to drive off the ruckus creators.Dr.Anand haulsDeepak and Sushant,but is shocked to find out that Deepak has turned on him.

Knowing this Poorvi confronts him and orders him to apologise to her father butDeepak refuses. This leads to their break up.The backward classes welcome reservationsbecause it provides more opportunities for education.  The upper class are against reservations asthey believe that it is not going to be effective.These arguments are playedout between Sushant and Deepak. The moderate STM administrators are scared thatcollege-level reservations may create conflicts between the students.

Whenasked by a reporter, Dr. Anand shares his personal opinion – that some form ofreservation, free of politics and economics, is good for society. The nextday’s headlines scream that Dr. Anand favours reservations. The STM board isangry; Dr.

Anand is warned that Mithilesh will use this to remove him. Dr.Anand resigns from STM, and Mithilesh is appointed as the new principal.Sushant soon realizes that Dr. Anand’s intention is not bad and that he doesnot have any caste feeling.Dr.

Anand is shocked to find out that his houseis being used for K.K coaching classes, which is linked to Mithilesh. EarlierDr. Anand signs an agreement that he will be the guarantee for the bank loantaken by his friend, and allows his friend’s sons to stay in that house for 2years but they use it to earn money by allowing K.K coaching classes inside thehouse. Dr.

Anand’s house lands in court case and no lawyer is prepared to goagainst Mithilesh. Meanwhile Deepak who is in USA finds out that Dr. Anand hasresigned from the college, immediately comes to India. Deepak goes to thathouse and takes law into his own hands by trying to pull out people related toK.

K coaching classes. Police arrest Deepak, but later he is released on bail bySushant.Dr Anand resolves to take out Mithilesh withthe only weapon left: teaching. He approaches his friend, Shambhu the cowherd,and takes shelter at the cowshed. He begins teaching small groups of needyand backward students from the bastee (nearby neighbourhood), at thecowshed.

His first success is Muniya (Aanchal Munjal), Shambhu’s daughter who comes in first place at the board exam.Muniya’s principal offers to send more students to Dr.Anand’s cowshed school. Deepak and Sushant return to Dr. Anand andjoin forces, teaching at the cowshed school.

The cowshedschool students fare much better at the exams than their classmates.The cowshed school’s reputation grows and begins to draw awaystudents at Mithilesh’s coaching class.Mithilesh responds by obtaining a legal permitto demolish the cowshed. The situation is diffused by the arrival of ShakuntalaTai, the reclusive magnate who started the STM institutions. She calls thechief minister, who promptly cancels the destruction of the cowshed. Mithileshis dismissed, and Dr. Anand is installed as the chief trustee of the STM andlifelong principal of the newly created STM Remedial Center.     INTERPRETATIONOF REVIEWSAccording to TOI Aarakshan touches itscore theme Reservation only in the first half of the film.

The second halfnarrates a completely unrelated story.The issue is seen through theprotagonist point of view rather than a broader perspective. Director PrakashJha wants us to understand that coaching classes are a reason of reservationwithout focussing on the issues directly associated with quota system.

People don’t expect any documentary on reservation system,nor there isany mention of its origin.The film’s take on reservation seems to be onlyone-sided as it completely disregards the resulting deprivation to the generalcategory merit students.The issues in the movie play outthrough two sets of triangular relationships.Director/co-writer Prakash Jha is one of ahandful of mainstream Indian filmmakers who regularly focus on political andsocial issues, and has made movies about bonded labor (which turns lower-casteworkers into virtual slaves), the oppression of women, caste-baseddiscrimination, political corruption, and police officers whose loyalties liewith crime lords rather than the people they’re supposed to be protecting. Butrather than alienating ordinary moviegoers, he sticks just close enough toBollywood conventions that his films aren’t relegated to inconsequentialart-house status.(FILM JOURNAL INTERNATIONAL)Scenes between AmitabhBachchan and Saif Ali Khan are greatly bought up by hard hitting and strongdialogues along with great music.The first half focusses compltely on the issuewhile the second half looses track.

(ACCORDING TO BIRMINGHAM MAIL)Aarakshan would serve to be a decent offeringmade special by the presence of a stellar cast led by Amitabh Bachchan himself.One would find it to be good enough to be considered as a case study on India’ssocio-political system. The critics will find it too absorbing to merely regardit as a satire on the prevalent education system.

(IMDB) On conclusion, Aarakshan touches its themeproperly in the first half while it looses track in the second half.The actorsAmitabh and Saif do justice to their roles. Amitabh does justice as aprofessor. Saif deviates from his lover boy role and concentrates more on hisserious role. Deepika plays a strong daughter role with ease.

As a whole thestory looses track after the interval.The issue covered in the film is anational issue and is showcased very well by the director.                    FILMS BY PRAKASHJHAPrakashJha (born 27 February 1952) is an Indian film producer, actor, directorand screenwriter, mostly known for his political and socio-political films suchas Damul (1984), Mrityudand (1997), Gangaajal (2003), Apaharan (2005), including multistarrer hit movies Raajneeti (2010), Chakravyuh (2012), and Satyagraha (2013). Damul(Bonded Until Death) highlights the ill effects of Bonded Labour System whilenarrating the story of a bonded labour who is left with no choice but to stealby his landlord.Mrityudand (The Death Sentence) is an Indian Hindi drama film releasedin 1997. It was directed and produced by PrakashJha and stars MadhuriDixit, Shabana Azmi, Ayub Khan, Mohan Agashe and Om Puri.The film is a commentary on the social and thegender injustice.3 Asin his other movies, filmmaker Prakash Jha has focussed on the social problemsthat plague his native state of Bihar, India, and like his other movies this one straddlesthe boundary between art film and commercial film.

The film also boasted ofsome semi-classical music, tuned by Anand-Milind and RaghunathSeth and worded by JavedAkhtar.Gangaajal (English: Ganges’Waters or literally means “Holy Water”) is a 2003 IndianHindi crime film directedby PrakashJha, starring Ajay Devgan, GracySingh and MukeshTiwari. The film also mentions the 1980Bhagalpur blindings.3 Gangaajal wasa hit at the Indian box-office.Recently the film became very popular due to itsdialogue “Aankh dikhata hai madarjaat” becoming a meme Raajneeti (English: Politics), is a 2010Indian politicalthriller film co-written, directed and producedby PrakashJha, with a screenplay by Anjum Rajabali and Prakash Jha, andstarring Ajay Devgn, Nana Patekar, RanbirKapoor, Katrina Kaif, ArjunRampal, Manoj Bajpayee and NaseeruddinShah in the lead roles.4 It wasoriginally produced by Prakash Jha Productions and distributed by UTVMotion Pictures and Walkwater Media. It was shotin Bhopal. The titletranslates literally as “Politics” and contextually as “Affairsof State.

 Satyagraha is a 2013 Indian Hindi-language politicaldrama film directed by PrakashJha starring Amitabh Bachchan, Ajay Devgn, KareenaKapoor, Amrita Rao, ArjunRampal, Manoj Bajpai, Mitalee Jagtap Varadkar, JagatSingh and VipinSharma in the lead roles.                   REVIEWS OF THE FILMS DONE BY PAKASH JHAPrakash Jha is mostly known for his political andsocio political films. Most of his movies are based out in Bihar. The movieDamul shows ill effects of bonded labour system.Thisfilm is a masterpiece, not only from the point of view of direction,performances and cinematography, but also because of the wideness of its plotand its capacity to capture and present the reality, in its naturalwholeness(IMBD).Damul is for those who always love socially committed cinema.Mrityudand is neither a complete art film nor a complete commercial film.Thefilm goes well till end,only the end gets disappointing.

Gangaajal is one of therare good cop bad cop movie which is shown extremely well.Rajneeti is a merecontinuation of the long chain of over hyped run-of-the- mill movies, whichlack both originality and substance. The ever meticulous and uncanny PrakashJha fails to leave any mark on the movie, which is a mere mishmash of weakdialogues, trite sub-slots, incongruities, and incompetency in editing and tosome extent in direction.

Jha fallibly blends the epic tale of the Mahabharatawith that of the Godfather in Rajneeti. Jha missed yet another trick by failingto acknowledge and avow to the fact that Rajneeti was meant to be an adaptationof the Mahabharata.A vague attempt to exploit arecent national issue, which is again made in Jha’s same old set pattern, withno impressive solution for the problem.         REVIEWS OF FILMS OF THE SIMILAR GENRESHOR IN THE CITYThe whole movie takes place in achaotic scenario during the Ganapathi Mahotsav in Mumbai. It is told in a multilinear narrative as there are 3 stories happening at the sme time but theydon’t confuse or interwine with each other.

All the characters are very wellwritten and potrayed. A  mentioned  in IMDB it is a mind blowing chaos.SILSILAStarts off asPropitious Romantic Melodrama and Ends up as Long Fashion Show!HAASILThis is only kind of such movie madein Indian cinema.

The efforts put by director/writer Tigmanshu Dhulia can’t bemeasured by just few awards. A lot of research (or say no research was requiredbecause every scene looks so natural) has been done behind each and every scenein the movie. Most of the actors in the movie are stage performers and theyhave given their best shots in the movie.

YUVATrue depiction of youth’s mind Today’syouth is matured but confused, helping but selfish for themselves and above allsentimental yet insensitive. As per direction, Mani Ratman’s movie is alwaysspecial for its visual feat and that is also true for this movie. And above allAR Rehman Music is true to the story.       AESTHETICS OF THE MOVIEAarakshan is one kind of a movie that demands afair balance between the subject and the art of film making. Theperformances,characterizations,narration,timing need to be in perfect syncfailing which the very purpose of the movie is lost. In the movie despite strongpotential for high drama,factual errors weighed down by a consistencychallenged storyline steals away the integrity of the subject.  The characterization is very strong and neat aseach of the characters carry forward their roles without any doubt. AmitabhBachchan carries his role as a professor perfectly.

Saif deviates from hischaracter slightly later.All the performances need to be highly mentioned.  The narration of the story is done perfectlytill the first half. During the second half the narration is not proper as thestory gets off the track. The camera angles used in the movie are simpletechniques used generally in any drama films.

This is because a drama film needsto have simple camera angles and not any complicated or complex angles. The music in the film plays a major role andadds as a plus point to the narration and the story.       

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