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: ‘Serious Men’ Review: Nawazuddin Siddiqui Shines in a Busy Satire


new Delhi: When you thought you saw the talent of Nawazuddin Siddiqui, he reminded a new surprise that there was much to come. He does this every time. He just did it again.

Among the serious men, Sudhir Mishra chose Siddiqui as Ayyan Mani, a Dalit migrant from Tamil Nadu in Mumbai. He lives in a room with a wife and young son, and works as a personal assistant to an important person in an important organization.

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Ayyan can be gripped by the socio-cultural hurdles that such a background usually brings to his awakening, except that there is a quirkiness about the protagonist who reappears Siddiqui in his role. In addition to being one of the countless crowds quietly suffering in the downright underbelly of Maximum City, the self-made Ayyan has learned to use everything and everyone at his disposal, in a bid to woo stature and wealth – and 10 years into it. Includes Boy of the Year.

This is a trait that provides a darker shade of gray for Ayyan Mani, as conceived by screenwriter Bhavesh Mandalia, to play it by Siddiqui. The actor does so politely, rarely taking antiheroes in Hindi films. Among serious men, he is a father who will exploit his son if he has to do so, his paternal instinct leads him to secure the boy’s future.

Bringing Siddiqui’s thrilling performance to life, the story is a mixture of fun and tragic, caustic and Sudhir Mishra can be as lofty as the film. Ayyan works as a personal assistant to the top boss (Nasser) at an extremely important center of fundamental research at the National Research Institute. This is a situation that gives Ayyan access to a world completely different from the existence of the pigeon that he calls home. He understands that he did not let his son Adi (Akash Das) grow in the same social harm that he did.

For Ayyan, the horrific existence he is trying to escape is also reminiscent of the persecution of his ancestors – a clan of scavengers – who had suffered for ages. He plans an escape from his current existence in his son Adi. His brainwave is risky and nowhere near moral, but Ayyan realizes that this may be the only road to a new life for his family.

Serious Men is based on Manu Joseph’s 2010 novel of the same name, although the screenplay (Abhijeet Khuman and Bhavesh Mandalia) has been tweaked to include some changes that make the story more cinematic. Credible writing allows Mishra to provide a satirical edge, as the director reiterates some curiosities over racism (Ayyan has defined himself as a “100 percent Shudra Dalit”) as well as the introduction of often insensitive reservation Of. The film also accommodates a comment or two on issues of sexuality and conversion.

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Despite impressive intentions and execution, Mishra’s film is not without its warts. Hearing the story, the melodrama stops weighing as Ayan’s audacity grows and Adi becomes a helpless scapegoat. Media sketches, geo-mafia / self-interested political, opportunistic educated classes (‘serious men’, as Ayan cursed them), do not escape stereotypes.

But Mishra’s focus on discrimination is not limited to caste-class division in relation to Ayyan and his ilk. The script also uses three notable female protagonists, balanced at the three ends of a narrative triangle, effectively.

Ayan’s wife Oja is effectively essayed by Indira Tiwari as a woman who is humble to the ways of her leading husband, but who eventually falls on her own. During the work, Ayyan finds Swayambhu Oparna (Vidhi Chitalia), who is in an affair with a big male boss.

The most interesting among the women in the story is Anuja (Shweta Basu Prasad), the daughter of opportunistic Dalit leader Keshav Dhavere (Sanjay Narvekar). Anuja will not stop the management from blending Smart which she has awarded at a foreign business school. Shweta Basu Prasad’s Anuja is simply flawlessly presented – a ruthless antagonist who will break every code of ethics to move forward, and still get sympathy votes using her personal personal past troubled by domestic violence Draws the line.

With the shocking story of Ayyan’s mother, Mishra uses these three women to highlight one simple fact – gender exploitation is a reality no matter what caste equation you stand for, and how much power a woman can have. Things have not changed in decades.

The film benefits from good performances by every artist. The veteran names, as Nassar and Sanjay Narvekar, serve as precise recourse, as the narrative evokes unpleasant truths with Mishra’s meaningless story.

Sirius regales men, and it also reminds you of some realities, which never change among the vast caste elite in India.

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