“Rajneeti” (Politics), the story of a political dynasty’s internal struggles for power after the family patriarch is laid low by a stroke, opened in Indian cinemas on Friday.
Here’s what some critics thought about director Prakash Jha’s attempts to draw on the epic “Mahabharata,” “The Godfather,” and contemporary rural Indian politics in order to portray this seamy power struggle.
Robert Abele of the Los Angeles Times says that “producer-director-co-writer Prakash Jha aims for something trenchant about thwarted destiny and ugly ambition in modern Indian democracy but mostly winds up with a convoluted and tonally awkward ‘Godfather’ rehash, with nary a character worth rooting for.” Well, that’s probably how many Indian voters feel around election time.
In the Times of India Nikhat Kazmi welcomes the returns of plot to popular cinema and says that Mr. Jha’s “political thriller unfolds as the quintessential Pandava-Kauravas conflict from the Mahabharata, with most of its characters tracing their antecedents to the epic.”
New York Times critic Rachel Saltz said that the film, “with its large cast of characters and wealth of subplots, is often a mess, but an interesting one.”
Here’s what some critics thought about director Prakash Jha’s attempts to draw on the epic “Mahabharata,” “The Godfather,” and contemporary rural Indian politics in order to portray this seamy power struggle.
Robert Abele of the Los Angeles Times says that “producer-director-co-writer Prakash Jha aims for something trenchant about thwarted destiny and ugly ambition in modern Indian democracy but mostly winds up with a convoluted and tonally awkward ‘Godfather’ rehash, with nary a character worth rooting for.” Well, that’s probably how many Indian voters feel around election time.
In the Times of India Nikhat Kazmi welcomes the returns of plot to popular cinema and says that Mr. Jha’s “political thriller unfolds as the quintessential Pandava-Kauravas conflict from the Mahabharata, with most of its characters tracing their antecedents to the epic.”
New York Times critic Rachel Saltz said that the film, “with its large cast of characters and wealth of subplots, is often a mess, but an interesting one.”
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